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Marilyn Aronberg Lavin has taught the history of art at Washington University, the University of Maryland, Yale, Princeton, and Universita di Roma, La Sapienza. Specializing in Italian 13th-16th century painting, she is internationally known for her books and articles on Piero della Francesca. Her other books include The Place of Narrative: Mural Painting in Italian Churches, 431-1600 AD., and Seventeenth-Century Barberini Documents and Inventories of Art , both of which were recipients of international prizes for distinguished scholarship. She is one of the leaders in the use of computers and digitized imagery for research, teaching, and publication in the history of art. This book offers a series of case studies intended to introduce and define an important class of fifteenth-century Italian art not previously recognized. It is argued that the paintings and sculptures discussed were created privately by artists for personal satisfaction and internal needs, outside the traditional framework of patronage and commercial gain. Since there is no direct documentation from this period of a work being privately made, the selection presented here is necessarily speculative. Instead, the essays focus on works by Piero della Francesca, Mantegna, Michelangelo, Bellini, and Titian that appear in the artists' testaments, letters of refusals to sell, and inventories showing ownership at the time of death. The task at hand is to uncover the motivation and meaning of works of art in which the medieval craftsman began to rise to the status of independent artist, and the maker and the viewer confront each other face to face for the first time.

Recent discussions on Byzantine art have been dominated by the question of representing realia. Among these, however, the way works of art reflect the daily life of women have not received much space or attention. The present book studies various images representing women's status and her performative tasks, and their significance from the fourth century to the fall of the Empire, through analysis of archaeological evidence and works of art. It addresses a wide range of questions, some pertaining both to pictorial traditions and to their late antique antecedents, others peculiar to changing and evolving Byzantine culture and mentality. The first chapter deals with the imagery of childbearing, starting with conception and concluding with the care given to the new born and the mother. The second chapter investigates motherhood imagery (breastfeeding, child care, and child-mother intimacy) and the portrayal of women as caretakers and managers of the household (preparing food, bringing water, carding and weaving, or working side by side with their husbands). The third chapter is dedicated to representations of women holding positions outside the house: midwives, maidservants, wet nurses, and mourners. Images of women engaged in disreputable occupations-dancers, musicians, prostitutes and courtesans - complete this chapter. The fourth chapter discusses images of women portrayed in the metaphorical margins - looking out from the gynaikon (the women's apartments), or at their private toilette; it also deals with representations of women who stray from the societal mainstream - concubines; adulteresses, women consenting to sexual acts or being coerced into them - considered symbolically as belonging to the margins of society. The book concludes with a discussion of the degree to which the visual material reliably reflects reality and changing attitudes toward women between Late Antiquity and late Byzantium; and further, to what extent it reveals embedded perceptions and conceptions of women, constructed by canonic regulations and imperial law, popular beliefs and accepted customs. The book aims to lift a veil from known and less known works of art and to present the rarely described picture of the daily life of women in Byzantine art over a very wide chronological span of time, in an effort to expand our knowledge of women in Byzantium and their realia.

The author is Helen Gould Sheppard Professor of Art History at New York University, Institute of Fine Arts, and a leading authority on English medieval manuscript illumination. This volume bring together twenty-six of Professor Sandler's studies, focusing on illustrated manuscripts produced in England in the thirteenth and fourteenth centuries, particularly on the illuminated psalters. The marginal illustrations in these psalters are a topic of particular interest, and there are a number of iconographic studies derived from this material. A separate section deals with the illustrated encyclopedias of the period, particularly the Omne bonum.

Rembrandt Duits completed his PhD at the University of Utrecht, and works at the Photographic Collection of the Warburg Institute, where he also teaches Renaissance material culture. His thesis, Gold Brocade and Renaissance Painting, won the Karel van Mander Prijs for the best publication on art between 1500 and 1800. Gold Brocade and Renaissance Painting discusses the representation of Italian Renaissance patterned silks in paintings from Italy and the Southern Netherlands, from the 14th to the 16th century. It is the first study to approach this subject from the perspective of material culture, attempting to answer such questions as why the subject of luxury textiles gained so great a popularity in Renaissance painting, how artists catered for an audience that desired to have gold brocades depicted but did not always possess the financial means to own the actual fabrics, and what the skills artists developed in this field contributed to the rising social status of the medium of painting. The material culture of the grand courts at which real gold brocade played an essential role in the display of wealth and status is compared to that of the socially ambitious but less affluent middle class for whom paintings were often the only affordable substitute for courtly splendour. Thus, the book also addresses the problem of the distinction between fact and fiction, imagination and reality in the account of contemporary social history presented in paintings.

The Russian artist Kazimir Malevich was one of the great figures of twentieth-century art, and a pioneer of abstraction, whose painting The Black Square of 1915 has become an icon of modernism. Yet he is a creative figure about whom much still remains to be elucidated. Soviet scholarship ignored him for decades, and Western scholars were inevitably only able to work with the limited visual and documentary material that was available to them. It was only after the fall of Communism in 1991 that access to such material became easier. This book represents the fruits of the research that has been conducted since then by a range of Russian and Western scholars who have been able to shed vital new light on the artist's life, his training, his art, his career, his relationships with other artists and movements, and his theories.

As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.

John James is an Australian architect and medieval historian. Since 1969 he has been searching for the origins of the Gothic style, beginning with a five-year study of Chartres cathedral. At that time there were no coherent techniques for analysing the detailed construction history of existing stone structures. This he created. He expanded his research to include all the early Gothic churches in the Paris region with a three-year survey of over 3500 buildings. His most important discovery has been that all churches of this period were constructed in many short campaigns by mobile building teams, and that major innovation was more likely to occur in the smaller buildings than in the larger. This volume makes available 42 of the author's studies on the development of Gothic architecture in France.

Dr Angeliki Lymberopoulou lectures on Byzantine Studies at the Open University, and is an expert on the art and society of Venetian-dominated Crete (1211-1669). During this period, Crete was perhaps the most important Venetian stronghold in the Mediterranean . The traditional view that there was little cultural interaction between the native Greek Orthodox population and the Venetian colonists has recently been cast in doubt. From the early fourteenth century onwards, the two ethnically and religiously different inhabitants of Crete formed in fact a hybrid society, and Cretan artistic development reflects this progress. The book focuses as a case study on the church of the Archangel Michael at Kavalariana. This is a small church in the village of Kavalariana on the south-western part of the island. It is dated by a dedicatory inscription to the year 1327/28. The conservative iconographic programme of the wall paintings inside the church consists of seventeen religious scenes and thirty-three isolated saintly figures. As the paintings are signed Ioannes, they have been attributed to the prolific fourteenth-century Cretan artist Ioannes Pagomenos. A close examination of the style and comparisons with Pagomenos' oeuvre suggest, however, that Ioannes of Kavalariana was a separate artist with an identity of his own. A unique feature of the Kavalariana cycle is the pro-Venetian inscription which, in combination with the fourteen portraits of the donors that appear in the church, forms an important witness to Venetian/Cretan cultural interaction.

Since turning to the field of Jewish art over twenty years ago, Vivian Mann has concentrated on investigating Jewish ceremonial art within the dual contexts of Jewish law, and the history of decorative arts in general, including the ceremonial art made for the Church and the Mosque. The introduction to this volume considers classic rabbinic attitudes toward art and its relationship to spirituality. The remaining essays are divided into three groups: the first concerns medieval ceremonial art; the second, articles on the Jewish art of Muslim lands beginning with the early Middle Ages; and the third consists of essays on Judaica during the periods of the Renaissance and rococo.

This book brings together seventeen important new papers published by Anna Muthesius since 1995. Many of the articles, plates and specially prepared figures are available only in this book. The volume acts as an essential companion to Dr Muthesius' earlier book in this series, Studies in Byzantine and Islamic Silk Weaving. The present book includes a group of seven papers (Studies II-VI, X, and XIV) originally entitled 'Silk in Byzantium'. These were prepared in the first instance for a seminar held in 1997 in Nicosia at the University of Cyprus. They offer an overall survey of Byzantine sericulture, silk manufacture, design, use and distribution. Study I has been added as an introduction to the Cyprus series, and to the book as a whole. Silk in an ecclesiastical context (the relationship between Imperial and monastic piety, ritual and Christological debate) forms the focus for a further five papers (Studies VIII-IX and XI-XIII). Study VIII acts to introduce a new subject, the theme of Byzantine Seafaring silks. The final three articles (Studies XV-XVII) explore the immense impact of Byzantine silks abroad between the fifth and fifteenth centuries, in regions as far apart as the British Isles and Central Asia.

Trained in Italy, Greece, and the United States, the author has taught for over 35 years at Bryn Mawr College, and at other universities in the U.S. and abroad, receiving the Gold Medal of the Archaeological Institute of America for Distinguished Achievement. A pupil of Rhys Carpenter, she has devoted all her writing to Greek sculpture. The articles in this volume were selected from over 95 studies she has published. In addition, her books have surveyed the entire span of Greek sculpture from the Archaic to the Late Hellenistic period. The articles are here presented in the chronological order in which they first appeared, to document Profesor Ridgway's evolving views on the history of Greek sculpture. Preference has been given to those that were published in foreign journals and honorary volumes; two have been translated from the original Italian and one from French. Notes at the end of the book update all the studies.

These two volumes brings together Professor Sauerlander's papers on Romanesque art, and complement his two previously published volumes in this series on Gothic art. The studies are again grouped around a number of common themes: structures, problems of classification, the geography of Romanesque art, and its development in Italy and the Empire. Early studies have been updated with references to the more recent literature, and there is a comprehensive index.

These two volumes brings together Professor Sauerlander's papers on Romanesque art, and complement his two previously published volumes in this series on Gothic art. The studies are again grouped around a number of common themes: structures, problems of classification, the geography of Romanesque art, and its development in Italy and the Empire. Early studies have been updated with references to the more recent literature, and there is a comprehensive index.

Romanesque mural painting was arguably the most visible field for religious images in Western churches between the eleventh and thirteenth centuries. Beyond its traditional justification as Bible of the illiterate mural painting demarcated the principal functional spaces within the church and propagated the sacred narratives, the systems of belief and institutional politics. The present volume provides the first accessible collection of essays devoted exclusively to the contextual interpretation of Romanesque mural painting. They are offered in homage to Otto Demus, who established the essential parameters for the field with his unsurpassed survey of the field over thirty years ago. Presenting previously unpublished research on individual case studies from Italy, France and Spain, the collection of essays published here pursues Demus's premise that mural painting was designed both to shape the experience and ritual use of distinctive spaces within the medieval church, and to advertise certain institutional affiliations and political agendas. The introduction, by Thomas Dale, provides a methodological overview to the field, assessing Demus's contribution to the study of Romanesque mural painting and surveying the scholarship of the past thirty years. It also furnishes the first overview of primary texts that refer to the functions and exegesis of mural painting between the tenth and thirteenth centuries. The ten essays are grouped under four topics 1. Patterns of Narrative Disposition in Sacred Space 2. Reinforcing the Praesentia of the Saints: The Church as Locus Sanctus 3. The Burial Crypt as Mediator between the Living and the Dead, Terrestrial and Celestial Space 4. Ecclesiastical Politics and Institutional Identity.

This volume presents a selection of studies written during the past decades by Professor DaCosta Kaufmann on a variety of topics concerning the history of painting, sculpture, art theory, collecting, and architecture. It includes several of his ground-breaking essays interpreting art at the Prague court of Rudolf II (1576-1512). However, the collection represents other aspects of the broad range of his interests as well: the papers gathered here range through Central Europe from the sixteenth to the early nineteenth century. In addition to essays on Rudolfine Prague, another complex of papers deals with art at other courts in Salzburg, Germany, the Low Countries, and Denmark in the early seventeenth century, and with art during the time of the Thirty Years' War. Two papers consider important developments in the history of collecting. Five essays offer interpretations of architecture (and sculpture) in Bohemia, Germany, Austria and Poland during the eighteenth and early nineteenth century. While concentrating on the visual arts and architecture of Central Europe, many of these essays engage with broader issues of cultural history. Many of them also offer approaches which will be of more general methodological interest.

Dr Jean Michel Massing is a Reader in the History of Art and a Fellow of King's College, Cambridge. The first volume of Studies in Imagery, Text and Images, consists of 25 "studies grouped under four sections: Classical Art and its Nachleben; Symbolic Languages; Saints and Devils; Comets, Dreams and Stars. The topics include the Celto-Roman "goddess Epona, the Calumny of Apelles and its reconstructions, the Triumph of Caesar, proverb illustration, the art of memory, emblematic and didactic imagery, the temptations of St Anthony, as well as dreams and celestial phenomena. They span a wide range of periods, from classical antiquity to the nineteenth century. Vol. 2, The World Discovered, deals variously with the relationship of European with non-European cultures, cartography in medieval and early modern times, the representation of foreign lands and people, and the collecting of exotic artefacts. A central theme involves the imagery of black Africans from the Middle Ages up to the nineteenth century.

Dr Jean Michel Massing is a Reader in the History of Art and a Fellow of King's College, Cambridge. The first volume of Studies in Imagery, Text and Images, consists of 25 studies grouped under four sections: Classical Art and its Nachleben; Symbolic Languages; Saints and Devils; Comets, Dreams and Stars. The topics include the Celto-Roman goddess Epona, the Calumny of Apelles and its reconstructions, the Triumph of Caesar, proverb illustration, the art of memory, emblematic and didactic imagery, the temptations of St Anthony, as well as dreams and celestial phenomena. They span a wide range of periods, from classical antiquity to the nineteenth century. Vol. 2, The World Discovered, deals variously with the relationship of European with non-European cultures, cartography in medieval and early modern times, the representation of foreign lands and people, and the collecting of exotic artefacts. A central theme involves the imagery of black Africans from the Middle Ages up to the nineteenth century.

The last part of the four-volume series which aims to make available the most important studies of Cornelius Vermuele the former curator of Classical Art at the Boston Museum of Fine Art. This volume spans the years between 1985 and 1995 and includes a wide range of studies on broad themes and specific works of art, mainly in American collections. The many subjects include: the Hellenistic East, Nero's Golden House, Roman Ostia, funerary monuments, the end of ancient art in Egypt, Pheidias, the Severan dynasty, Troy and Germanicus Caesar.

The third part of the four volume set which aims to make available the most important studies of Cornelius Vermeule, the formercurator of Classical Art at the Boston Museum of Fine Art. This volume contains studies published between 1974 and 1984 which cover a wide range of broad topics as well as including studies of specific artworks, mostly held in American collections. The many subjects include Graeco-Roman artworks in the East, the ram cults of Cyprus, numismatic art, Graeco-Roman sculpture, monuments and memorials, painting and mosaic, the Ara Pacis and Nero, Roman imperial art, crime and punishment and Alexander the Great's souvenirs.

Professor Joseph Trapp has been Director of the Warburg Institute, and is an authority on Renaissance humanism and the classical tradition. The present volume brings together twenty-one of Professor Trapp's more recent papers on the illuminated manuscripts of Petrarch, and his lasting influence. The fifteenth- and sixteenth-century movement which led to a European revaluation of social, political, ethical, literary, artistic and intellectual experience and which we know as the Renaissance was given its decisive early impetus from Italy in the fourteenth by Francesco Petrarca (1304-1374). Petrarch is present, sometimes visibly, sometimes all but invisibly, within all the manifestations of the Renaissance imagination covered by these essays. His presence is most obvious in the first division of this book, Petrarch Illustrated, where a comprehensive survey and a number of specialized studies bring up to date and in other ways augment the great work of the prince d'Essling and Eugene Muntz, published in 1902 and now in need of revision in many respects. In the second section, Petrarch is present by reputation and implication, and through the homage paid to him, directly in pilgrimage to and adornment of places where he lived and the search for personal mementos, or indirectly in the search by generations succeeding him for the authentic image of the classical authors whom he studied, imitated, revered and loved as friends, or in the permeation into Northern Europe of the study of the classics which he saw as the guide to letters and to life and its modification by humanists and Biblical scholars. Erasmus, Thomas More and William Tyndale, widely different in both their Christian faith and their views of the Biblical text in Latin, Greek or English, without consciously being aware of it, owed their preoccupation with the texts ultimately to the example of Petrarch and his Italian successors, particularly the schoolmaster Guarino of Verona and the great philologists Lorenzo Valla and Angelo Poliziano.

These two volumes, which have been published separately, present a collection of Richard Gem's archaeological and architectural assessments of individual buildings written over the last 25 years which, together, form an overview of the development of English church architecture from the 7th to the 12th century.

Lilian Armstrong is Professor of Art at Wellesley College, Massachusetts, and a specialist on Venetian Renaissance book illumination. She is the author of The Paintings and Drawings of Marco Zoppo and Renaissance Miniature Painters and Classical Imagery: The Master of the Putti and His Venetian Workshop, and she was a major contributor to the exhibition catalogue The Painted Page: Italian Renaissance Book Illumination 1450-1550 (ed. by Jonathan Alexander). Her publications have focussed particularly on the transition from illuminated manuscripts to the hand-illuminated early printed book in Venice. The present volume collects Professor Armstrong's papers on miniaturists active in Venice and Northern Italy in the 15th and early 16th centuries, and on the impact of the new invention of printing on these artists and their patrons. Included are papers on Marco Zoppo, primarily a monumentalpainter, who nevertheless also painted in manuscripts and incunables. The studies variously identify miniaturists and designers of woodcuts through stylistic groupings, trace iconographic traditions for Pliny's Natural History and Petrarch's De viris illustribus, demonstrate the importance of heraldry for studying patronage of Venetian printed books, and explore the distribution of Venetian incunables throughout Europe based on analysis of their decoration.

Professor Zarnecki is the leading authority on English medieval sculpture. The present volume has assembled his major articles on Romanesque art published before 1979. These studies are primarily concerned with the changes that took place in English sculpture during the eleventh and twelfth centuries, and attempt to set developments in English art over this period within a European context. The volume also deals with Romanesque sculpture in France and Italy, together with metalwork and woodcarving in England, and includes a number of important iconographical studies. The author has up-dated his earlier studies to incorporate the results of subsequent research, and has augmented several studies with added bibliographical notes or references to more recent discoveries. Additional illustrations have been added where necessary, including photographs of a number of monuments which were previously unpublished.

Using the great south-Italian monastery of San Vincenzo al Volturno, one of the best preserved monasteries of the earliest Middle Ages, as a case-study and heuristic paradigm, John Mitchell has engaged in a wide-ranging examination of the ways in which visual culture was developed and deployed by ambitious states and institutions in early medieval Europe. The present volume includes studies on the cultural dynamics of Italy and its contribution to the visual complexion of Europe in the period, as well as essays on many aspects of the artistic culture of San Vincenzo, including a series of papers on the display of script in the physical fabric of the monastery and the prominent role it played in its self-image.

Trained as an archaeologist and art historian and being a practising painter, Professor Galavaris has been able to relate diverse disciplines in his work, as shown by the wide range of his numerous publications. He moves from the early history of the eucharistic bread in the Orthodox Church, the dramatic impact of the Liturgy on illuminated Byzantine manuscripts, to the role of the icon in: the life of the Church, the poetry of Rainer Maria Rilke and the European painting of the 20th century. He is a leading authority on the study of the relationship between worship, Liturgy and art. Whether it is the cult of the Byzantine Emperor or the Eucharistic Liturgy, manifested in numismatics, illuminated manuscripts, icons, church lights (candles and oil lamps) - all witnesses of the creative forces of the Byzantine artist - Galavaris' interests are symbols, forms and their meaning. He investigates their contribution to worship, to the visual shaping of the Liturgy and how they reveal the freedom and the mission of the artist in realizing the Unseen in everyday life. The 31 studies in the present volume, published over 40 years (5 of them appear in English for the first time) are brought together with an introduction, annotations and an index. The volume contributes essentially to our knowledge of the spirituality of the Eastern Church.

This work in two volumes brings together all of Irving Lavin's studies aside from those on Gian Lorenzo Bernini. They range from studies of the art and architecture of Late Antiquity to twentieth-century painting in New York.

This, the second of two volumes containing all of Professor Kitzinger's essays on late antique and medieval art, painting and mosaics, is accompanied by a new preface and a comprehensive index.

Doula Mouriki's death in 1991 was a great loss to Greek scholarship. In a career of just under thirty years she made a major contribution to the study of Byzantine art in Greece. This volume brings together eight of the most influential of Professor Mouriki's papers on late Byzantine painting.