Böcker av Elizabeth Coatsworth

Goldsmiths' products examined, combining discussion of object with analysis of inscription and design, and literary and archaeological evidence for smiths and their work.Throughout the Anglo-Saxon period, goldsmiths produced work of a high standard in both design and craftsmanship, both for personal adornment, and to embellish bookbindings, reliquaries, vessels and weapons. Some works are well known, particularly the magnificent gold and garnet regalia from Sutton Hoo, but this represents only a fraction even of the surviving work, and much more has been lost. This book is the first to look at the goldsmiths' products through the eyes of both a specialist in the period and a practical craftsman, combining close examination of the surface and structure of the objects with analysis of inscriptions and evidence for design, and with literary and visualsources of evidence for smiths and their work. Archaeological and documentary evidence for workshops, tools and working processes is also assessed, and up-to-date technical information on materials and techniques is juxtaposed with new practical research to throw light on manufacturing and decorative processes, and, more widely, to give a fresh idea of the position of the goldsmith in his society. Dr ELIZABETH COATSWORTH is Senior Lecturer inthe Department of History of Art and Design, Manchester Metropolitan University; Dr MICHAEL PINDER is Senior Lecturer in the Department of Architecture, Landscape and 3DD, at the same university.

Lydia was quiet and full of imagination, Jean was adventurous yet bossy, but together with their baby brother Mark, Father, and Cousin Mary, they made just the right sort of family. They loved doing things together, and in these stories that run through all the months of the year, they have old-fashioned fun together in New England during the 1940s. On a wintry day in January, they share ice cream cones in a snow cave dug out by Father. February brings a sleigh ride-accompanied by the magical sound of jingling bells, they drive to the country as twilight descends, filling the air with hushed wonder. When Father buys a red second-hand car, which the children name the Dragon, they are off on more day trips and adventures. In spring they help a farmer with sugaring-collecting sap from maple trees as the Iroquois did, and on Easter morning this close family watches the sunrise over Nantasket beach. So on through the seasons, til it is winter again and they spend Christmas in a cottage by the sea. Includes new maps of 1940s Hingham, Massachusetts and the surrounding areas so you can see where Jean and Lydia's adventures take them.Illustrated by Marguerite Davis.

The Manchester Medieval Textiles Project began in 1994, as a collaboration between Elizabeth Coatsworth of Manchester Metropolitan University and Gale Owen-Crocker of the University of Manchester. Both had specialist interests in the literary and material culture of the early medieval period, and both were conscious of a gap in general knowledge of an important and all-pervasive part of that material culture, through the relative inaccessibility of sources of information regarding medieval textiles. The Manchester Medieval Textiles Project developed with two objectives, both attempting to bring the basic materials of the subject to a wider audience. The first is to establish a catalogue of all medieval textiles in the British Isles. This starts from the needs of a seeker after specific textiles, or textile objects, who will also be interested in the context of discovery, and will be accompanied by a glossary of textile terms relevant to the finds. The catalogue will be published in due course on the internet, as a searchable database, the most useful form for those who want to devise their own, new, research questions of this material. The second objective was to produce this annotated bibliography of publications relevant to these textiles. It is intended to show the range of sources available to the historian of material culture, who wishes to consider the evidence from the surviving textiles, and whether specific publications will have the kind of information they seek. Both parts of the Project should enable those interested in this material to see what materials comparative to their object of interest exist throughout the British Isles and Ireland; and the differences between cultural areas should also be more readily apparent.

The best new research on medieval clothing and textiles, drawing from a range of disciplines.The usual wide range of approaches to garments and fabrics appears in this tenth volume. Three chapters focus on practical matters: a description of the medieval vestments surviving at Castel Sant'Elia in Italy; a survey of the spread of silk cultivation to Europe before 1300; and a documentation of medieval colour terminology for desirable cloth. Two address social significance: the practice of seizing clothing from debtors in fourteenth-century Lucca, and the transformation of the wardrobe of Margaret Tudor, daughter of King Henry VII, upon her marriage to the king of Scotland. Two delve into artistic symbolism: a consideration of female headdresses carved at St Frideswide's Priory in Oxford, and a discussion of how Anglo-Saxon artists used soft furnishings to echo emotional aspects of narratives. Meanwhile, in an exercise in historiography, there is an examination of the life of Mrs. A.G.I. Christie, author of the landmark Medieval English Embroidery. ROBIN NETHERTON is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture at the University of Manchester. Contributors: Michelle L. Beer, Elizabeth Coatsworth, Valija Evalds, Christine Meek, Maureen C. Miller, Christopher J. Monk, Lisa Monnas, Rebecca Woodward Wendelken