England and the Continent in the Middle Ages: Studies in Memory of Andrew Martindale
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What Julian Saw: the Embodied Showings and the Items for Private Devotion
religions Article What Julian Saw: The Embodied Showings and the Items for Private Devotion Juliana Dresvina History Faculty, University of Oxford, 41-47 George St, Oxford OX1 2BE, UK; [email protected] Received: 28 February 2019; Accepted: 29 March 2019; Published: 2 April 2019 Abstract: The article traces potential visual sources of Julian of Norwich’s (1343–after 1416) Revelations or Showings, suggesting that many of them come from familiar everyday devotional objects such as Psalters, Books of Hours, or rosary beads. It attempts to approach Julian’s text from the perspective of neuromedievalism, combining more familiar textual analysis with some recent findings in clinical psychology and neuroscience. By doing so, the essay emphasizes the embodied nature of Julian’s visions and devotions as opposed to the more apophatic approach expected from a mystic. Keywords: revelations; mysticism; ekphrasis; neuromedievalism; neuroarthistory; psychohistory; Julian of Norwich; visions; sleep paralysis; psalters; books of hours; rosary beads 1. Introduction This paper has a very simple thesis to illustrate: that a lot, if not most of theology, found in the writings of Julian of Norwich (1343–after 1416)—a celebrated mystic and the first English female author known by name—comes from familiar, close-to-home objects and images. Images are such an integral aspect of our existence that the famous neuroscientist Rodolfo Llinás, and many after him, claimed that our brain is about making images (Llinás and Paré 1991; Damasio 2010, pp. 63–88). However, such complicated private visual experiences as dream-visions or mystical revelations are insufficient to synthesise knowledge per se, particularly if understood as aimed at a broader community. -
Harlaxton Medieval Series (2017)
Copies of the Harlaxton Medieval Series are available from: SHAUN TYAS / PAUL WATKINS PUBLISHING, 1 High Street, Donington, Lincolnshire, PE11 4TA E: [email protected] T: +44 (0)1775 821 542 Harlaxton Medieval Studies I (Old Series) Proceedings of the 1984 Harlaxton Symposium: England in the Thirteenth Century, ed. W. M. Ormrod Articles: M. T. Clanchy, England in the Thirteenth Century: Power and Knowledge, 1–14 Adelaide Bennett, A Late Thirteenth-Century Psalter-Hours from London, 15–30 Michael Camille, Illustrations in Harley MS 3487 and the Perception of Aristotle’s Libri naturales in Thirteenth-Century England, 31–44 D. A. Carpenter, An Unknown Obituary of King Henry III from the Year 1263, 45–51 E. C. Fernie, Two Aspects of Bishop Walter de Suffield’s Lady Chapel at Norwich Cathedral, 52– 55 John Glenn, A Note on a Syllogism of Robert Grosseteste, 56–59 John Glenn, Notes on the Mappa Mundi in Hereford Cathedral, 60–63 Brian Golding, Burials and Benefactions: an Aspect of Monastic Patronage in Thirteenth-Century England, 64–75 George Henderson, The Imagery of St Guthlac of Crowland, 76–94 Virginia Jansen, Lambeth Palace Chapel, the Temple Choir, and Southern English Gothic Architecture of c. 1215–1240, 95–99 Flora Lewis, The Veronica: Image, Legend and Viewer, 100–106 Suzanne Lewis, Giles de Bridport and the Abingdon Apocalypse, 107–119 Michael Prestwich, The Piety of Edward I, 120–128 M. E. Roberts, The Relic of the Holy Blood and the Iconography of the Thirteenth-Century North Transept Portal of Westminster Abbey, 129–142 D. -
Andrew Martindale
ANDREW MARTINDALE Andrew Martindale, Professor of Visual Art at the University of East Anglia, died from a brain tumour in Norwich on May 29th, aged 62. He was born in Bombay on December 19, 1932 At first glance one might have mistaken Andrew Martindale, with his dark eyes and mandorla of black hair, for a Balkan prince or, for that matter, revolutionary. He was in fact, profoundly English and deeply influenced by the buildings, music and landscape of England. He spent a great part of his life in Norfolk, whose many churches and great cathedral he studied and cherished. It is fitting that his ashes now lie in the cloister of Norwich Cathedral where he had chaired the Fabric Advisory committee since 1991. Andrew Martindale joined the fledgling History of Art department at the new University of East Anglia as a senior lecturer in 1965 and shared the idealism of the new universities in the 1960s. Unlike many, he remained true to those ideals: he worked to break down the elitism of his subject, to share his scholarship and enthusiasm with first-year students as well as post-graduates and to teach widely and well. He did not need to be goaded by the Funding Council's Quality Assessment Exercise into being a conscientious and inspiring teacher even amid the relentless burden of administration shouldered when he became Dean in 1971, and when he succeeded Peter Lasko as Professor in 1974. With remarkable energy and extreme self-discipline he produced a stream of articles and books which reveal the unusual range of his scholarly enterprise: Man and the Renaissance (1967), The Rise of the Artist (1972), The Triumphs of Caesar by Andrea Mantegna (1979) and Simone Martini (1988). -
Harlaxton Medieval Studies I (Old Series) Proceedings of the 1984 Harlaxton Symposium: England in the Thirteenth Century, Ed
Copies of the Harlaxton Medieval Series are available from: SHAUN TYAS / PAUL WATKINS PUBLISHING, 1 High Street, Donington, Lincolnshire, PE11 4TA E: [email protected] T: +44 (0)1775 821 542 Harlaxton Medieval Studies I (Old Series) Proceedings of the 1984 Harlaxton Symposium: England in the Thirteenth Century, ed. W. M. Ormrod Articles: M. T. Clanchy, England in the Thirteenth Century: Power and Knowledge, 1–14 Adelaide Bennett, A Late Thirteenth-Century Psalter-Hours from London, 15–30 Michael Camille, Illustrations in Harley MS 3487 and the Perception of Aristotle’s Libri naturales in Thirteenth-Century England, 31–44 D. A. Carpenter, An Unknown Obituary of King Henry III from the Year 1263, 45–51 E. C. Fernie, Two Aspects of Bishop Walter de Suffield’s Lady Chapel at Norwich Cathedral, 52–55 John Glenn, A Note on a Syllogism of Robert Grosseteste, 56–59 John Glenn, Notes on the Mappa Mundi in Hereford Cathedral, 60–63 Brian Golding, Burials and Benefactions: an Aspect of Monastic Patronage in Thirteenth-Century England, 64–75 George Henderson, The Imagery of St Guthlac of Crowland, 76–94 Virginia Jansen, Lambeth Palace Chapel, the Temple Choir, and Southern English Gothic Architecture of c. 1215–1240, 95–99 Flora Lewis, The Veronica: Image, Legend and Viewer, 100–106 Suzanne Lewis, Giles de Bridport and the Abingdon Apocalypse, 107–119 Michael Prestwich, The Piety of Edward I, 120–128 M. E. Roberts, The Relic of the Holy Blood and the Iconography of the Thirteenth- Century North Transept Portal of Westminster Abbey, 129–142 D. -
THE BULLETIN of the ASSOCIATION of ART HISTORIANS No.2. February 1976
THE BULLETIN OF THE ASSOCIATION OF ART HISTORIANS No.2. February 1976. THE ANNUAL CONFERENCE The Association's annual conference will be at Glasgow University from the afternoon of Friday 26 March to lunchtime on Monday 29 March. The main programme of papers will be divided into four sections which will run concurrently: a general section, a section on art-historical reconstructions, a group of papers on the subject of'British nineteenth-century Art, Design and Social history', and a series on Scottish art. Friday, 26 March, 2.30 - 5.30 General section 1. John Fletcher, Dendrochronology and some early English panel paintings. John Maddison, A 14th-century master mason in the County Palatine of Chester. Mary Alexander, Sculptural sources of Fra Angelico's Linaiuoli Tabernacle. Brian Blench, Spanish glass in Glasgow Museums and Art Galleries. Reconstructions 1. John Steer, Giovanni Bellini's St Francis in the Frick collection. Andrew Martindale, The original site of Mantegna's Triumph of Caesar. Robin Simon, Marvell's 'Horatian Ode' and Mantegna's Triumph of Caesar. John Onians, San Sebastiano, Mantua, and the reconstruction of a reconstruction. British nineteenth-century Art, Design and Social History 1. 'The Artist's Profession' Michael Kitson, How did the artist earn his living? Gordon Fyfe, Painting and reproductions in the early Victorian period. Alan Bowness, Who exhibited at the Royal Academy in 1850? Griselda Pollock, Women in Victorian Art. 8.00-10.00 Reception at Glasgow Art Gallery. Saturday, 27 March. 9.15 Annual General Meeting 10.00-12.30 General section 2. Martin Kemp, Botticelli's Annunciation in Kelvingrove: patterns of instability. -
Anthony Frederick Blunt 1907–1983
ANTHONY BLUNT Courtesy of the Courtauld Institute of Art Anthony Frederick Blunt 1907–1983 Introduction IT IS MORE than thirty years since Blunt died, too long for the kind of appreciation normally accorded to the recently dead, yet perhaps not quite sufficient for him to have receded far enough into the depths of time past for the abnormal circumstances of his life to be reviewed without disturb- ing the calm detachment needed for straightforward historical research. He is still, though only just, within the living memory of those who could be said to have known him at all well, and the embers of feelings that once ran high in the aftermath of his exposure in 1979 may be rekindled by this belated reopening of the inquest. It is not meant to be an exculpation of his clandestine activities, though it may seem like that to some, since it attempts to correct the disproportion between the attention that has been given to the spying episode, and his academic life and career. It is still possible for this to be done, though there are few of us left who had insight into, or sympathy with, his thought world, and time is running out. The reasons why art history has been consistently underrated or ignored in the literature about Blunt are that the authors have not been art historians themselves, and that the art historians of the Courtauld Institute who could have done something about it declined to do so. Even Miranda Carter, who in her admirable biography made a determined effort to ensure that her readers were aware that there was an art-historical side, seems to have done so in order to moderate the all-importance of the spying, instead of from a realisation that it was the core activity, and the Biographical Memoirs of Fellows of the British Academy, XIII, 19–39.