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Art in the Ancient World

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Art in the Ancient World Art in the Ancient World A U G U S T I N E C O L L E G E Byzantine Manuscript illumination Carolingian | David playing the Lyre The Good Samaritan Rossano Gospels perhaps made in Constantinople | 6th C The body of St. Catherine transported to Mt. Sinai Belles Heures of Jean, duc de Berry, 15th C Psalter | Psalm 11 1180–1200 | ENGLISH Book of Kells late 8th or early 9th century Codex Aureus Laurensius Gospels 778 to 820 Opening of the Gospel of Luke 1020 BYZANTINE The Gospel of Mark The Evangelist Mark Seated at His Desk 1025-50 BYZANTINE The Creation detail Moralized Bible, 1220 FRENCH Christ in Majesty 1200 Westminster Psalter The Crucifixion and the Deposition of Christ with Ecclesia and Synagoga 1235 Psalter of Blanche of Castile Missal Italy | 1250 The Belleville Breviary 14th C | Jean PUCELLE The Belleville Breviary 14th C | FRENCH Altar-hanging of the Crucifixion painted in grisaille for the Church of St. Just, Narbonne 1364-78 Louvre Ecclesia Synagoga Altar-hanging made for Church of St. Just, Narbonne 1364-78 | Louvre The Wilton Diptych Richard II Presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund 1395 The Wilton Diptych back 1395 Arms and helmet of Richard II Emblem of Richard II The Wilton Diptych back 1395 The Wilton Diptych Richard II Presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund 1395 The Wilton Diptych The Virgin and Child 1395 The Wilton Diptych detail St. Nicholas Book of Hours c. 1400 Saints jamb figures | Notre-Dame, Laon Saints Elizabeth of Hungary, Clare, & Louis of France Simone MARTINI | 1322-26 Virgin of the Annunciation Early 14th C | French The Annunciation 1333 | Simone MARTINI The Crucifixion 1370 Andrea di BONAIUTO Crucifixion shrine of St. Denis rock crystal | 9th C CAROLINGIAN The Crucifixion 11th C Mosaic Monastery Church, Daphni, Greece Crucifixion late 12th C BYZANTINE Cathedral of St. Cecilia Albi, France Cathedral of St. Peter & St. Paul Naumburg, Germany | 11th to 13th C Crucifixion St-Gilles-du-Gard | 1150-1200 Cathedral, Wells Transept crossing GOTHIC | 1338 Scenes from the Life of Mary Notre-Dame, Strasbourg, France south portal | 13th C The Dormition of the Virgin Notre-Dame, Strasbourg, France south portal | 13th C The Coronation of the Virgin Notre-Dame, Strasbourg, France south portal | 13th C The Coronation of the Virgin Notre-Dame, Strasbourg, France south portal | 13th C Annunciation & Visitation Nativity Adoration of the Magi Presentation in the Temple Portable altarpiece ivory | FRENCH late 14th C Annunciation Nativity Altarpiece of the Coronation of Mary 1330 | Bernardo DADDI The Madonna of Mercy Madonna della Misericordia 1320 Lippo MEMMI The Madonna of Mercy Madonna della Misericordia 1320 Lippo MEMMI The Holy Theotokos Adoring the Christ Child fresco Church of Chora (Constaninople) BYZANTINE ‘Madonna della Bruna’ Della Bruna Master | 1270 | ITALIAN The Virgin and Child 14th C Allegretto NUZI The Virgin and Child detail 14th C Allegretto NUZI Virgin and Child 1260-70 FRENCH ivory carving Virgin and Child Byzantine Greek, Hodegetria (literally, ‘she who shows the way’) 1230 | BERLINGHIERO Santa Maria la Nuovo Monreale, Sicily | 12th C Santa Maria la Nuovo Monreale, Sicily | 12th C Santa Maria la Nuovo Monreale, Sicily 12th C Santa Maria la Nuovo Monreale, Sicily | 12th C The Virgin and Child 1315 Simone MARTINI The Annunciation 1333 | Simone MARTINI The Annunciation detail of Mary 1333 Simone MARTINI The Temptation of Christ DUCCIO 1308-11 .
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  • Download Chapter (PDF)
    ILLUSTRATIONS, FIGURES AND MAPS illustrations 1. Kneeling crusader with his horse behind him, from the Westminster Psalter, c. 1250. xxii © British Library Board. All Rights Reserved / Bridgeman Images. 2. Eichstätt model of the Edicule, twelfth century. Bildarchiv Monheim GmbH / xxiv Alamy Stock Photo. 3. Aerial view of the Church of the Holy Sepulchre, Jerusalem. Photo © Zev Radovan / xxv Bridgeman Images. 4. Croix de chevalier from the First Crusade. Photo Josse / Scala, Florence. 4 5. Giving the cross, from J. Riley-Smith (ed.), The Oxford Illustraded History of 7 the Crusades (Oxford 1995). 6. Women at a siege, from Histoire ancienne jusqu’à César, late thirteenth century. 11 © The British Library Board (MS 15268, fol. 101v). 7. Stone carving of Roland (right) on the exterior of the royal palace at Navarre, 13 twelfth century. Granger / Bridgeman Images. 8. ‘The Rider on the white horse and his followers’, from Apocalypse (‘The Queen 16 Mary Apocalypse’), early fourteenth century. © The British Library Board (Royal 19 B. XV, fol. 37r). All rights reserved / Bridgeman Images. 9. Godfrey of Bouillon and his train setting out on horseback, from William of Tyre, 22 Histoire d’Outremer, 1232–61. © British Library Board. All Rights Reserved / Bridgeman Images. 10. Richard I jousts with Saladin during the crusade of 1191. Encaustic tiles from 29 Chertsey Abbey, c. 1250. Universal History Archive/UIG / Bridgeman Images. 11. The Dome of the Rock, Jerusalem. Lori Epstein / National Geographic 32 Image Collection / Bridgeman Images. 12. Ivory casket with figural and ornamental decoration including hunting scenes, southern 33 Italy or Sicily, eleventh–twelfth centuries.
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  • Theresa Ostrom
    “AND HE HONOURED ÞAT HIT HADE EUERMORE AFTER”: THE INFLUENCE OF RICHARD II’S LIVERY SYSTEM ON SIR GAWAIN AND THE GREEN KNIGHT By THERESA OSTROM A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2003 TABLE OF CONTENTS page ABSTRACT……………………………………………………………………………..iii CHAPTER 1 INTRODUCTION………………………………………………………………….....1 2 SIGNS AND KINGSHIP IN RICHARD’S EARLY YEARS…………………........14 The Loss of a Slipper and the Finding of the Holy Oil........................………....14 Signs, Seals, and Livery………………………………………………………...23 3 THE WHITE HART BADGE AND THE CONTROL OF SIGNS………………...27 Early Attempts at Livery……………………………………………………….32 The Badge of the White Hart and the Wilton Diptych………………………....36 4 THE LIVERY SYSTEM AND THE CONCEPT OF TRAWÞE…………................49 The Concept of Trawþe in Chaucer’s and Gower’s Works………………........50 The Green Knight as Arbitrary Sign…………………………………………...59 5 THE PENTANGLE AND THE GREEN GIRDLE………………………...............65 6 CONCLUSION…………………………………………………………………......88 REFERENCES……………………………………………………………....................97 BIOGRAPHICAL SKETCH………………………………………………………….104 ii Abstract of Master’s Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Arts “AND HE HONOURED ÞAT HIT HADE EUERMORE AFTER”: THE INFLUENCE OF RICHARD II’S LIVERY SYSTEM ON SIR GAWAIN AND THE GREEN KNIGHT By Theresa Ostrom May 2003 Chair: R. Allen Shoaf Major Department: English This study investigated the relationship between King Richard II’s manipulations of semiotics and the appearance of signs in the fourteenth-century text, Sir Gawain and the Green Knight. Many critics have noted that the Gawain-poet presents conflicting responses to signs in the poem; I argue that these contradictory messages may be directly linked to the program of kingship under Richard II.
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  • British Library Ancient, Medieval and Early Modern Manuscripts Digitisation Master List
    British Library Ancient, Medieval and Early Modern Manuscripts Digitisation Master List 07/01/2016 Shelfmark Title Hyperlink Add Ch 54148 Bull of Pope Alexander III relating to Kilham, http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_Ch_54148&index=0 Yorkshire Add Ch 76659 Confirmations by the Patriarch of Constantinople of http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Add_Ch_76659 the stavropegiacal rights of the Monastery of Theotokos Chrysopodariotissa near Kalanos, in the province of Patras in the Peloponnese Add Ch 76660 Confirmations by the Patriarch of Constantinople of http://www.bl.uk/manuscripts/FullDisplay.aspx?index=0&ref=Add_Ch_76660 the stavropegiacal rights of the Monastery of Theotokos Chrysopodariotissa near Kalanos, in the province of Patras in the Peloponnese Add MS 10014 Works of Macarius Alexandrinus, John Chrysostom http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10014 and others Add MS 10016 Pseudo-Nonnus; Maximus the Peloponnesian; http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10016 Hilarion Kigalas Add MS 10017 History of Roman Jurisprudence during the Middle http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10017 Ages, translated into Modern Greek Add MS 10022 Procopius of Gaza, Commentary on Genesis http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10022 Add MS 10023 Procopius of Gaza, Commentary on the Octateuch http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10023 Add MS 10024 Vikentios Damodos, On Metaphysics http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_10024
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  • The Livery Collar: Politics and Identity in Fifteenth-Century England
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  • Chapter One – Introduction
    CHAPTER ONE – INTRODUCTION. 1.1 – Time and Colour as Visual Drivers It is generally understood that time and colour constitute an integral part of the great trinity of primary terrestrial and cosmic phenomena i.e., the aggregation of time, light (of which “… colour is a manifestation of a particular wavelengths …” (Collier, 1972: 148)) and space. It is also understood that the perception of one is dependent upon the presence of the other two. The manifestation of time, for instance becomes apparent through the measurement of the distance between objects or points in space. The objects, or points themselves are made visible by the passage of light striking their individual surfaces. How long it takes to get from one object or point to the other provides us with a tangible measure of time. The art historian and sculptor Grahame Collier (1972) reminds us that … space is the arena in which light manifests and this manifestation permits us to discern the layout of objects. Only by perceiving the layout of objects do we become aware of the multidimensional shape of space between them and ultimately the distances involved. Thus we are able to conceive of time… (Collier, 1972: 121). The activities of both the visual artist and architect (whatever their theoretical proclivities may be) are, to one extent or another, concerned with the management and manipulation of space, which of course includes the location of two and three- 1 dimensional forms in space. The artist’s concerns with spatial organization may be engaged at any scale though it is generally, as Collier (1972) remarks, at …a more intimate scale than that of nature; a painting, for example, can become a very personal environment in which even the macro, unarticulated space of sea or sky is transformed into a scale we can apprehend.
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  • Jeremy Montagu Some Mss. in the British Library with Instruments Page 1 of 2
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  • 14 CH14 P468-503.Qxp 9/10/09 11:40 Page 468 14 CH14 P468-503.Qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe
    14_CH14_P468-503.qxp 9/10/09 11:40 Page 468 14_CH14_P468-503.qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe HE GREAT CATHEDRALS OF EUROPE’S GOTHIC ERA—THE PRODUCTS of collaboration among church officials, rulers, and the laity—were mostly completed by 1400. As monuments of Christian faith, they T exemplify the medieval outlook. But cathedrals are also monuments of cities, where major social and economic changes would set the stage for the modern world. As the fourteenth century came to an end, the were emboldened to seek more autonomy from the traditional medieval agrarian economy was giving way to an economy based aristocracy, who sought to maintain the feudal status quo. on manufacturing and trade, activities that took place in urban Two of the most far-reaching changes concerned increased centers. A social shift accompanied this economic change. Many literacy and changes in religious expression. In the fourteenth city dwellers belonged to the middle classes, whose upper ranks century, the pope left Rome for Avignon, France, where his enjoyed literacy, leisure, and disposable income. With these successors resided until 1378. On the papacy’s return to Rome, advantages, the middle classes gained greater social and cultural however, a faction remained in France and elected their own pope. influence than they had wielded in the Middle Ages, when the This created a schism in the Church that only ended in 1417. But clergy and aristocracy had dominated. This transformation had a the damage to the integrity of the papacy had already been done.
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  • Hike Edward's Purchases of Printed Books And'manustflpts
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  • THE AMESBURY PSALTER MADONNA and CHILD By
    THE AMESBURY PSALTER MADONNA AND CHILD by DOREEN NALOS B.A., University of British Columbia, 1973 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of . Fine Arts We accept this thesis as conforming to the required standard: THE UNIVERSITY OF BRITISH COLUMBIA September, 1976 © Doreen Nalos, 1976 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Doreen Na1os Department of FINE ARTS The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date September U . 1 976 ii ABSTRACT The decoration of the Amesbury Psalter, c.1250, is of immediate appeal because of its skilled execu• tion and the richness of its decoration. It is, moreover, interesting iconographically; the Madonna and Child page, which presents Mary as the Virgo lactans, appears to be the earliest representation of this type of Madonna which is of English proven• ance. Although the Virgo lactans is the oldest image of Mary known to us, it has never been the popular im• age of the Virgin as has been, for example, the re• presentation of the seated Hodegetria. This essay traces the history of the Virgo lactans to the cult of Isis in Egypt, explores the image of Mary expressed in theological writings through the centuries, and examines popular concepts of the Virgin portrayed in vernacular literature, and the various ways in which the Madonna and Child theme has been visually presented.
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  • Heraldry for Beginners
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  • The Wilton Diptych and the Absolutism of Richard II
    Quidditas Volume 8 Article 4 1987 The Wilton Diptych and the Absolutism of Richard II Sumner Ferris California University of Pennsylvania Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Ferris, Sumner (1987) "The Wilton Diptych and the Absolutism of Richard II," Quidditas: Vol. 8 , Article 4. Available at: https://scholarsarchive.byu.edu/rmmra/vol8/iss1/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. JRMMRA 8 (1987) The Wilton Diptych and the Ab oluti m of Ri chard II* by umner Ferris Cali fornia n iversiLy f Pennsylvania The Wi lton DipLy h (i n The Natio nal Call ery, London) m no"', after some years of hesitation on the matter, be considered to be very probably the work of an I::nglish artist. ' Consequemly, we may take the painting to be not sim ply a ma tcrpiece of the International tyle but a specifically English masterpiece of th e age of Ri chard II, the king whom it chi efl y honors and depicts, and we may expect LO find in it a pecifically English meaning. BUL, despite its acknowledged artistic merit, the Wil ton Diptych is ti ll imperfectly understood. There are three fundamental matters to be resolved about the painting: its date, its meaning.
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  • Material Remains: Plantagenet Corpses, Burial Sites, and Memorials
    Material Remains: Plantagenet Corpses, Burial Sites, and Memorials Carole M. Cusack Introduction The Middle Ages was an era in which peculiar significance was placed upon dead human bodies. Granted, this was most intensely felt in cases of the ‘holy dead’, those for whom it was anticipated that after a short period of time canonisation would follow hard upon the heels of death, such as the murdered Archbishop of Canterbury, Thomas Becket (d. 1170). The prompt response of Pope Alexander III, who canonised Becket in 1173, and the rapturous embrace of the cult of Saint Thomas, seen in the pilgrimage from Southwark to Canterbury immortalised in Chaucer’s Canterbury Tales, is a particularly clear example, especially when the gruesome details of the relic-taking from the martyr’s corpse are known.1 Yet the bodies of royalty could, under certain circumstances, be revered in like fashion: a phenomenon such as the rapid growth of Gloucester Abbey (now Cathedral) as a pilgrimage site, due to the burial of Edward II in December 1327 and the lavish gifts that his son Edward III made to the church testifies to this (as does Richard II’s formal request to the Papacy that his Carole M. Cusack is a Professor of Religious Studies at the University of Sydney. Thanks are due to her research assistant Camille Dewell, who assembled the notes and images for this article during her work experience at the University of Sydney in November 2015. The research was first presented as a lecture to the Plantagenet Society of Australia meeting on 19 March 2016 at Hornsby Library.
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