Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons^™

Assur Is King Of Persia: Illustrations Of The Book Of Esther In Some Nineteenth-Century Sources, Steven W. Holloway

Steven W Holloway

The marriage of archaeological referencing and picture Bibles in the nineteenth century resulted in an astonishing variety of guises worn by the court of Ahasuerus in Esther. Following the exhibition of Neo-Assyrian sculpture in the British Museum and the wide circulation of such images in various John Murray publications, British illustrators like Henry Anelay defaulted to Assyrian models for kings and rulers in the Old Testament, including the principal actors in Esther, even though authentic Achaemenid Persian art had been available for illustrative pastiche for decades. This curious adoptive choice echoed British national pride in its splendid British Museum collection …

A ‘New’ Kutir-Nahhunte Ii Text, Steven W. Holloway

Steven W Holloway

No abstract provided.

Stosunki Chrześcijańsko-Żydowskie W History, Pamięci I Sztuce: Europejski Kontekst Dzieł W Katedrze Sandomierskiej [Jewish-Christian Relations In History, Memory, And Art: European Context For The Paintings In The Sandomierz Cathedral], Magda Teter, Urszula Stępień

Magda Teter

[Polish] Obraz Infanticidium wiszący na zachodniej ścianie katedry sandomierskiej i ukazujący sceny rzekomego morderstwa dzieci chrześcijańskich przez Żydów był często przedstawiany w izolacji jako przykład antysemityzmu polskiego oraz stosunków pomiędzy Żydami a Kościołem katolickim. Stał się więc ten obraz swego rodzaju „miejscem pamięci” (lieu de mémoire), w którym „skrystalizowana” została także pamięć stosunków chrześcijańsko-żydowskich w Polsce, oraz tym samy źródłem napięć i protestów. Bogato ilustrowana książka pod redakcją Magdy Teter i Urszuli Stępień ma na celu przedstawienie wstępnego zarysu, ułatwiającego zrozumienie sandomierskich obrazów w ich szerszym kontekście artystycznym, historycznym, i historiograficznym, na tle wydarzeń zarówno europejskich, jak i lokalnych.

[English] …

A War Of Worlds: Becoming “Early Modern” And The Challenge Of Comparison, Ayesha Ramachandran

Ayesha Ramachandran

No abstract provided.

Das Sakramentar Von Beauvais: Vollständige Faksimile-Ausgabe Der Handschrift Ms. Ludwig V 1 Aus Dem J. Paul Getty Museum, Los Angeles, Elizabeth Teviotdale

Elizabeth C Teviotdale

A facsimile of a ten-leaf fragment of an illuminated sacramentary. The commentary includes a close examination of the object itself (physical properties, text, writing, and painting), considers the fragment's place in the oeuvre of the main scribe, and evaluates the artistic comparanda. A new understanding—anticipated in the work of Guy Lanoë—of the probable circumstances of the manuscript's creation is offered: that the sacramentary was made almost certainly at the behest of Roger, bishop of Beauvais from 998 to 1016, for his cathedral church of Saint Peter.

Artículo Político Campaña Electoral 2011, Pablo Rosser

pablo rosser

Artículo de opinión del autor, como miembro del PSOE en Alicante.

Typology, Elizabeth Teviotdale

Elizabeth C Teviotdale

Restricted access.

Eadwine Psalter, Elizabeth Teviotdale

Elizabeth C Teviotdale

Restricted access.

Pembroke College 302: Abbreviated Gospel Book Or Gospel Lectionary?, Elizabeth Teviotdale

Elizabeth C Teviotdale

A consideration of the character of the text of Cambridge, Pembroke College, MS 302, a series of excerpts from the four canonical Gospels in (with one exception) biblical order preceded by an incomplete set of canon tables, a manuscript produced in England in the mid-11th century. Concludes that it was probably created as a private devotional book for a high-ranking Benedictine monk, a prayer book intended to resemble a Gospel book and to present a full account of the life of Christ.

Revealing Iberian Woodcraft: Conserved Wooden Artefacts From South-East Spain, Pablo Rosser

pablo rosser

Yolanda Carrion & Pablo Rosser Six wells at Tossal de les Basses in Spain captured a large assemblage of Iberian woodworking debris. The authors’ analysis distinguishes a wide variety of boxes, handles, staves, pegs and joinery made in different and appropriate types of wood, some – like cypress – imported from some distance away. We have here a glimpse of a sophisticated and little known industry of the fourth century BC.

The Three-Figured Reliefs: Copies Or Neoattic Creations?, Peter E. Nulton Ph.D.

Peter E. Nulton Ph.D.

The well-known group of four three-figured reliefs, existing in several copies and once assigned to the Altar of Pity in Athens, has always eluded interpretation as a coherent iconographical program. The four scenes depicted are Orpheus and Eurydice, Herakles in the garden of the Hesperides, Herakles with Perithoos and Theseus, and Medea with the Peliads. Though some have questioned the association of the reliefs with the Altar, the conventional dating has not been challenged, in spite of the growing recognition that some of the pieces (most notably the Orpheus relief) are largely unparalleled in the Classical Greek idiom. Careful reexamination …

Afterword: Audiences Near And Far, Elizabeth Teviotdale

Elizabeth C Teviotdale

A reflection on the acquisition and display of medieval art in museums of the American Midwest and on the appearance of medieval works of art from Midwestern museum and library collections in international loan exhibitions.

Centum Homines: The Prototype Of The Alexander Mosaic And The Military Museum In The Hellenistic World, Peter Nulton

Peter E. Nulton Ph.D.

Although it is generally accepted that the Alexander Mosaic copies a painting of the 4th Century BCE, the attribution of this prototype has never been settled. Numerous attempts have been made to associate it with painters recorded in Pliny's Natural History, notably Philoxenos of Eretria, and Alexander's court painter, Apelles.

If the painting were the work of any artist whose name survives, as strong a case can be made for Aristeides of Thebes as for Apelles or Philoxenos. Since Pliny's comment that Aristeides painted a battle against the Persians follows his treatment of the works of Apelles, he is likely …

Was The Bayeux Tapestry Made In France? The Case For St. Florent Of Saumur, George Beech

George T. Beech

This book presents the hypothesis that the Bayeux tapestry, long believed to have been made in England, came from the Loire valley in France, from the abbey of St. Florent of Saumur. This is based on a number of different kinds of evidence, the most important of which is signs of a St. Florent/Breton influence in the portrayal of the Breton campaign in the tapestry, about a tenth of the whole.

Illustrating The Music Of The Mass: A Case Study, Elizabeth Teviotdale

Elizabeth C Teviotdale

A study of the figural decoration of a late 11th-century gradual from Toulouse (London, BL, MS Harley 4951, fols. 121-301), concluding that the psalmodic origin of the texts of many chants of the mass informed the way in which those of the 11th century conceived the chants.

The Sanctuary Of Apollo Hypoakraios And Imperial Athens, Peter Nulton

Peter E. Nulton Ph.D.

The Cave Sanctuary of Apollo on the North Slope of the Acropolis at Athens was investigated in 1896-97 and produced a rich collection of inscriptions relating to the cult. These inscriptions are published in full for the first time in this work. The author discusses the history of the cult. Far from being of great antiquity as readers of Euripides' "Ion" have long assumed, the cult was instituted in the time of Augustus when "The Athenians thought it fitting that their archons swear an oath that upheld tradition in connection to Apollo Patroos, but simultaneously honored their 'new Apollo'", the …

The Stammheim Missal As Tribute To Saint Bernward's Interest In Art, Elizabeth Teviotdale

Elizabeth C Teviotdale

An examination of the circumstances of the creation of the Stammheim Missal (Los Angles, J. Paul Getty Museum, MS 64) and the Ratmann Missal (Hildesheim, Dom-Museum, DS 37) in the decades after the monks of St. Michael's at Hildesheim, where the manuscripts were created, had been granted the privilege in 1150 to venerate their founder, Bishop Bernward (d. 1022) as a saint. Proposes that the Stammheim Missal was not intended to be consulted during the mass, the Ratmann Missal serving that requirement, and that it served rather as a repository of the monastery's liturgy and as a sort of contact …

The Stammheim Missal, Elizabeth Teviotdale

Elizabeth C Teviotdale

A study of Los Angeles, Getty Museum, MS 64, a deluxe liturgical manuscript made at and for the monastery of St. Michael's at Hildesheim, probably in the 1170s, with a sketch of the antecedent tradition of illuminated manuscripts for the liturgy of the mass and a discussion of early medieval typological art. All of the manuscript's major illumination is reproduced in color.

Apollo Hypoakraios Reconsidered, Peter Nulton

Peter E. Nulton Ph.D.

In 1897, the excavations of P. Kabbadias uncovered ten votive plaques in a cave on the northwest slope of the Athenian Acropolis, thereby fixing the location of the "sanctuary of Apollo in a cave" mentioned by Pausanias (I.28.4). The inscriptions indicated that they were meant as dedications to Apollo Hypoakraios or Hypo Makrais, and that the dedicants were invariably members of the college of archons. Although the corpus has increased steadily since then, the inscriptions have not been treated together since Kabbadias's original publication.

In this paper, I will offer some conclusions drawn from a thorough re-analysis of the corpus. …

The Frontispiece Miniatures Of The Stammheim Missal, Elizabeth Teviotdale

Elizabeth C Teviotdale

Examines the frontispiece miniatures of Los Angeles, J. Paul Getty Museum, MS 64, proposing that the direct reflection of the art patronized by Bishop Bernward of Hildesheim (d. 1022) is a key component in the manuscript's role as a testament to Bernward.

Who Was Gevehard?, Elizabeth Teviotdale

Elizabeth C Teviotdale

Discusses the relationship between the Stammheim Missal (Los Angeles, J. Paul Getty Museum, MS 64) and the Ratmann Missal (Hildesheim, Dom-Museum, MS DS 37), a pair of manuscripts produced at and for the Abbey of St. Michael's, Hildesheim, in the second half of the 12th century, focusing on a certain Gevehard, a contemporary monk and priest pictured in the Getty manuscript.

The Getty Anglo-Saxon Leaves And New Testament Illustration Around The Year 1000, Adam Cohen, Elizabeth Teviotdale

Elizabeth C Teviotdale

A study of the two surviving leaves of an Anglo-Saxon gospel book (Los Angeles, J. Paul Getty Museum, MS 9), concluding that the text was based on an Irish-influenced recension of the text transmitted to England by Breton manuscripts of the late Carolingian period and that a Carolingian model can also be proposed for the illustrations of the parent manuscript.

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

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 …

The "Hereford Troper" And Hereford, Elizabeth Teviotdale

Elizabeth C Teviotdale

The probability of a Hereford origin for the so-called Hereford Troper (London, BL, MS Cotton Caligula A.xiv (troper) is re-examined. The longstanding opinion that the paintings in the troper share an exclusive stylistic affinity with those in a gospel lectionary known to have been at Hereford at an early date (Cambridge, Pembroke College, MS 302) is challenged, and it is proposed that the Hereford provenance of the 11th-century gospel-lectionary does not constitute reliable evidence concerning the origin of the troper (now also called the Caligula Troper).

Some Thoughts On The Place Of Origin Of The Cotton Troper, Elizabeth Teviotdale

Elizabeth C Teviotdale

Argues that the first fragment in London, BL, MS Cotton Caligula A.xiv was copied at Winchester Old Minster or at Worcester either for the cathedral priory at Worcester or for a highly-placed individual at Worcester. The published version of a paper given at the fourth meeting of the Cantus Planus Study Group of the International Musicological Society (September 3-8, 1990) in Pécs.

The Making Of The Cotton Troper, Elizabeth Teviotdale

Elizabeth C Teviotdale

Provides a detailed description of a fragment of an illustrated 11th-century English troper, forming the first portion of MS Cotton Caligula A.XIV (London, BL). The major decoration is an initial and paintings of Christological and hagiographical subject matter.

What Ship Goes There: The Flood Narratives In The Gilgamesh Epic And Genesis Considered In Light Of Ancient Near Eastern Temple Ideology, Steven W. Holloway

Steven W Holloway

Despite efforts made to understand the Mesopotamian and Genesis flood narratives as cosmogonies, the architecture and religious symbolism of the arks remain a scholarly embarrassment. Comparisons of the design of the arks described in Gilgamesh XI and Genesis 6—8 traditionally have focused on the sharp incompatibility of their dimensions. I shall attempt to demonstrate by a close