Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Oleg Grabar. Includes Bibliographical References (p. 79-86) And Index.

Book by Gaube, Heinz

xxii, 161 pages : 28 cm "Drawing upon a lifetime's knowledge, Patterns of Stylistic Change in Islamic Architecture presents Michael Meinecke's unique view of the evolution and development of Islamic architecture. Departing from conventional method which groups buildings and monuments according to dynasties and defines national characteristics based on the ethnic origins of Arabic, Persian, or Turkish patrons, Meinecke emphasizes the similarities which resulted from interrelations among neighboring or far-away areas. He argues that transformations in the development of Islamic architecture can be explained by the movements of skilled craftsmen who traveled extensively in their search for challenging work, allowing for their influence to be felt across a broad region. Meinecke's unique approach to Islamic architecture will no doubt inspire others to emulate his approach in studying other regions or areas. Few, however, will be able to attain the consummate mastery of the subject which enlivens these essays"--Publisher description Includes bibliographical references and index

This volume is about Netherlandish workshop practice from the late fifteenth century to the 1560s. Some articles present the results of new technical studies that are comprehensive in nature, revealing the inter-relationship between prints and painting practices, modes of collaboration, shifts in procedure, the development and use of shop models, and the impact of international commerce. Others present new documentary evidence and new methods of historical statistics revealing trends in workshop size, career trajectories, and immigration. The essays have been collected around the theme of a session on workshop practice organized by Molly Faries for the 2002 Historians of Netherlandish Art International Conference held in Antwerp. Table of Contents: Molly Faries, ‘Making and Marketing: Studies of the Painting Process’; Micha Leeflang, ‘The Saint Reinhold Altarpiece by Joos van Cleve and his Workshop: New Insights into Albrecht Dürer’s Influence on the Working Process’; Ron Spronk and Catharina van Daalen, ‘Two Scenes from the Passion at the Harvard Art Museums: a Tale of Two Antwerp Workshops?’; Daantje Meuwissen, ‘A Painter in Black and White: the Symbiotic Relationship between the Paintings and Woodcuts of Jacob Cornelisz. van Oostsanen’; Anne H. van Buren, ‘Collaboration in Manuscripts’; Maryan Ainsworth, ‘Romanism as a Catalyst for Change in Bernard Van Orley’s Workshop Practices’; Linda Jansen, ‘Shop Collaboration in the Painting of Background Landscapes in the Workshop of Pieter Coecke van Aelst’; H. Verougstraete and R. Van Schoute, ‘Copies, Pastiches, and Forgeries after Bosch’; Margreet Wolters, ‘Creativity and Efficiency: Joachim Beuckelaer’s Use of Patterns and Models’; Maria Galassi, ‘Jan Massys and Artistic Relationships between Antwerp and Genoa during the Sixteenth Century’; Liesbeth Helmus, ‘Journeymen and Servants: Sixteenth-century Employment Contracts with Painters from the Netherlands’; Maximiliaan P.J. Martens and Natasja Peeters, ‘Artists by Numbers: Quantifying Artists’ Trades in Sixteenth-century Antwerp’ 20051221

The Memoirs of Sylvester Syropoulos is a text written by a Î’yzantine ecclesiastical official in the 15th century. Syropoulos participated in the Council for the union of the Greek and Latin Churches held in Ferrara and Florence, Italy, in 1438-1439. As a high-ranking official and an eye-witness of the union, he offers a unique perspective on this important political and religious event that would so decisively contribute to the political, military and religious development of Europe at the end of the Middle Ages. Experts in different fields - historians, philologists, art historians and archaeologists - have come together in this volume to explore the actions and motives of the various political and religious groups that participated in the council. With Syropoulos as their starting point, the contributors of this volume reconstruct the living conditions, cross-cultural interaction, artistic and commercial exchange in the 15th-century Mediterranean. At the same time, they discuss the text as an invaluable source for political and diplomatic affairs at that time, as a travel account, an eye-witness narrative and as a literary work. Emphasis is placed on Syropoulos’s Section IV where he describes the journey of the Byzantine delegation from Constantinople to Italy, their stay in Venice and in Ferrara, the diplomatic contacts with the doge and the pope, and finally the beginning of the council’s proceedings. An annotated English translation of the text is included as an appendix to the book. The papers bring out the richness of the information in Syropoulos’s writings about the people involved in the Council of Ferrara-Florence and especially the interaction among different social, religious and political groups throughout that event. His work is unique because it is a rare eye-witness account, deriving from personal experience, rather than an objective historical narrative.

In 'Mughal Occidentalism', Mika Natif elucidates the meaningful and complex ways in which Mughal artists engaged with European art and techniques from the 1580s-1630s. Using visual and textual sources, this book argues that artists repurposed Christian and Renaissance visual idioms to embody themes from classical Persian literature and represent Mughal policy, ideology and dynastic history. A reevaluation of illustrated manuscripts and album paintings incorporating landscape scenery, portraiture, and European objects demonstrates that the appropriation of European elements was highly motivated by Mughal concerns. This book aims to establish a better understanding of cross-cultural exchange from the Mughal perspective by emphasizing the agency of local artists active in the workshops of Emperors Akbar and Jahangir.

Timur And The Image Of Power -- Shahrukh And The Princely Network -- The Kitabkhana And The Dissemination Of The Timurid Vision -- Sultan-husayn And The Restructuring Of The Timurid Facade -- The Timurid Resonance -- Catalogue -- Appendices. Arzadasht -- Preliminary Index Of Timurid Cultural Patronage And Activity -- Repetition Of Composition. Thomas W. Lentz And Glenn D. Lowry. To Accompany An Exhibition Held At The Arthur M. Sackler Gallery. Apr. 16-july 6, 1989 And At The Los Angeles County Museum Of Art, Aug. 13-nov. 5, 1989. Includes Bibliographical References And Index. Includes Bibliographical References.

The paucity of documents related to Stefan Lochner has resulted in a lack of agreement on such fundamental issues as the artist's identity, the nature of his oeuvre, the importance of his workshop, and his position in fifteenth-century painting. This volume re-evaluates the oeuvre ascribed to this artist in the light of an extensive examination of his works with infrared reflectography. Although the results of technical studies form the underpinnings of the book, its concerns are broader. Relatively few drawings can be attributed to northern artists of the fifteenth century, and fewer still can be linked with any degree of certainty to Cologne. Our understanding of graphic languages in Germany is based primarily on the print production, a distorted view because the techniques of woodcut and engraving imposed restrictions on printmakers that draftsmen could disregard. It is not until Martin Schongauer, active in Colmar in the last quarter of the century, that we can confidently associate a particular graphic language with a specific locale. In addition to increasing the overall corpus of fifteenth-century drawings, the underdrawings brought to light by the reflectography of Lochner's paintings offer tangible evidence of a graphic style that was practised in Cologne in the 1430s and 1440s. They reveal Lochner to be a draftsman of the first order who practised a style quite new at the time: derived from metalwork, it foreshadows Schongauer's achievements by some forty years. The prominent position of painting in modern museums obscures the fact that in earlier times other media were often more highly esteemed; the goldsmith's work is one of the forms of art to have been severely devalued over the centuries. Lochner selected his pictorial means to establish a conscious parallel with the work of goldsmiths, raising the status of painting by endowing it with the quality of the most revered form of art.

nvestigates the interaction between word and image in medieval Persian art through a series of case studies Technically some of the finest produced anywhere, the artworks created in greater Iran from the tenth to the sixteenth century are also intellectually engaging in showing the lively interaction between the verbal and the visual arts. Focusing on five objects produced in the main media used during this period (ceramics, metalwares, architecture, illustrated manuscripts, and textiles), this beautifully illustrated study shows how artisans played with form, material, and decoration to engage and "speak to" their audiences.It also shows how the reception of these objects has changed and demonstrates that their present context "“ whether on a museum shelf or in the middle of an excavation "“ has implications for our understanding of the past. Each chapter begins with a careful study of the object and moves to broader theories of function, reception, and display.Key FeaturesIncludes over 100 colour illustrations of the objects and buildings explored in the textStudies five different media: ceramics, metalwares, architecture, illustrated manuscripts, and textilesLooks at what happened to the objects since production and the impact of their current displayGives a nuanced view of Persian art in the context of Iranian history

Pt. I The Ottoman Empire And Arab Cities -- The Ottoman Empire -- Urban Expansion During The Ottoman Period -- Characteristics Of Arab Cities In The Ottoman Era -- . Pt. Ii City Centers -- The Shifting Of The Seat Of Political Power Out Of The Centers -- The Urban Center -- Organization Of The Urban Centers -- Elements Composing The Urban Center : Shops And Markets -- Caravanserais -- Pt. Iii Residential Districts -- Introduction -- Localization Of Residential Districts -- Individual And Collective Housing -- Conclusion -- Pt. Iv Imperial Art, Local Tradition, And Innovation -- Introduction -- Imperial Art -- The Permanence Of Local Artistic Tradition -- Innovation -- Conclusion. André Raymond. Translated From The French. Printed Version Of Four Lectures Given In April And May 1983 At The Hagop Kevorkian Center At New York University--pref. Includes Index. Bibliography: P. 145-147.

Charles Sterling's research was continued and enriched in particular by Nicole Reynaud and Francois Avril, who worked together in mounting a remarkable exhibition at the Bibliotheque Nationale in 1993, entitled 'Les manuscrits a peintures en France, 1440-1520', and the book published on the occasion was a milestone insofar as it was the most complete survey to date.

This volume is about Netherlandish workshop practice from the late fifteenth century to the 1560s. Some articles present the results of new technical studies that are comprehensive in nature, revealing the inter-relationship between prints and painting practices, modes of collaboration, shifts in procedure, the development and use of shop models, and the impact of international commerce. Others present new documentary evidence and new methods of historical statistics revealing trends in workshop size, career trajectories, and immigration. The essays have been collected around the theme of a session on workshop practice organized by Molly Faries for the 2002 Historians of Netherlandish Art International Conference held in Antwerp. Table of Contents: Molly Faries, ‘Making and Marketing: Studies of the Painting Process’; Micha Leeflang, ‘The Saint Reinhold Altarpiece by Joos van Cleve and his Workshop: New Insights into Albrecht Dürer’s Influence on the Working Process’; Ron Spronk and Catharina van Daalen, ‘Two Scenes from the Passion at the Harvard Art Museums: a Tale of Two Antwerp Workshops?’; Daantje Meuwissen, ‘A Painter in Black and White: the Symbiotic Relationship between the Paintings and Woodcuts of Jacob Cornelisz. van Oostsanen’; Anne H. van Buren, ‘Collaboration in Manuscripts’; Maryan Ainsworth, ‘Romanism as a Catalyst for Change in Bernard Van Orley’s Workshop Practices’; Linda Jansen, ‘Shop Collaboration in the Painting of Background Landscapes in the Workshop of Pieter Coecke van Aelst’; H. Verougstraete and R. Van Schoute, ‘Copies, Pastiches, and Forgeries after Bosch’; Margreet Wolters, ‘Creativity and Efficiency: Joachim Beuckelaer’s Use of Patterns and Models’; Maria Galassi, ‘Jan Massys and Artistic Relationships between Antwerp and Genoa during the Sixteenth Century’; Liesbeth Helmus, ‘Journeymen and Servants: Sixteenth-century Employment Contracts with Painters from the Netherlands’; Maximiliaan P.J. Martens and Natasja Peeters, ‘Artists by Numbers: Quantifying Artists’ Trades in Sixteenth-century Antwerp’ 20051221

Art,Italy,Art Italy

<p>Commissioned by Prince Sultan Ibrahim Mirza in 1556, five Iranian court calligraphers devoted nine years to transcribing the poetic text of the great Persian classic, the <i>Haft awrang</i> (Seven Thrones), by the mystical poet Abdul-Rahman Jami. Then a team of gifted artists undertook the illumination and illustration of the manuscript. The masterpiece they created—housed today in the Freer Gallery of Art, Washington, D.C., and known as the Freer Jami—is a sumptuous volume of some three hundred folios of elegant cursive script with richly decorated margins, thousands of multicolored section dividers, nine illuminated headings and nine colophons that begin and end the main divisions of the text, and twenty-nine full-scale paintings. This gorgeous book reproduces to scale the Freer Jami paintings, discusses each in detail, and introduces the manuscript’s patron and the artist’s painting style and meaning.<br> <br> Marianna Shreve Simpson describes the cultural and artistic milieu in which Sultan Ibrahim Mirza’s great manuscript was created and explores the special style and imagery of the illustrations. She then considers the poetic content and mystical significance of the related passages, how the paintings interpret the passages, and the unique and innovative aspects of each painting. In the themes and images of the paintings, Simpson finds, are clues to the message of the manuscript as a whole. This book also includes a timeline of milestones in the prince’s life and in the production of his <i>Haft awrang</i>.<br> <br> Copublished with the Freer Gallery of Art, Smithsonian Institution, Washington, D.C.</p>

Many of the best draughtsmen of the Italian Renaissance are represented in this volume, which describes and reproduces 293 drawings of the fifteenth and sixteenth century from the extensive collection of Italian drawings in The Metropolitan Museum of Art. Works by the greatest masters—Leonardo, Michelangelo, Raphael, and Correggio—are included, as well as drawings by Barocci, Carpaccio, Parmigianino, Paolo Veronese, and Perugino.

Iranian Art Of The Qajar Period (1779-1925) Has Long Been Neglected And Is Little Understood. This Beautifully Illustrated Book For The First Time Comprehensively Examines The Flowering Of Persian Painting And The Visual Arts Of This Period. It Focuses On The Growth Of A Remarkable Tradition Of Life-size Figural Painting, Virtually Unseen In The Islamic World. Exquisite Historic Manuscripts, Lacquer Works, Calligraphies And Enamels Further Illuminate The Subject. The Qajar Epoch Carries Essays By Leading Scholars Exploring The Historical And Social Context Of The Period. Detailed Entries Describing And Interpreting A Wide Variety Of Painting And Artifacts, Many Hitherto Unseen Masterpieces From Museums Such As The Hermitage And Private Collections Are Virtually All Illustrated In Color And Accompanied By Translations Of Inscriptions, Technical Appendices And Extensive Bibliographies. A Unique Reference Work, The Qajar Epoch Will Appeal To Both Specialist Of Pre-modern Iran And All Those Interested In Non-western Artistic And Cultural Traditions. Qajar Paintings: A Personal Reminiscence / B.w. Robinson -- Qajar Iran: A Historical Overview / Abbas Amanat -- Images Of Power And The Power Of Images: Intention And Response In Early Qajar Painting (1785-1834) / Layla S. Diba -- From Workshop And Bazaar To Academy: Art Training And Production In Qajar Iran / Maryam Ekhtiar -- Art And Diplomacy: Qajar Paintings At The State Hermitage Museum / Adel T. Adamova -- Reading For Gender Through Qajar Painting / Afsaneh Najmabadi -- Popular Arts: Patronage And Piety / Peter Chelkowski -- Safavid Period (1501-1722) -- Afsharid Period (1736-47) -- Zand Period (1750-79) -- Early Qajar Period (1785-1834) -- Muhammad Shah Period (1834-48) -- Nasir Al-din Shah Period (1848-96) -- The Last Qajars And The Constitutional Period (1896-1925) -- Appendix: Materials Of A Group Of Persian Paintings. Edited By Layla S. Diba, With Maryam Ekhtiar ; Essays By B.w. Robinson ... [et Al.]. Catalog Of An Exhibition Held At The Brooklyn Museum Of Art, N.y., Oct. 23, 1998-jan. 24, 1999, At The Armand Hammer Museum Of Art And Cultural Center, Ucla, Feb. 24-may 9, 1999, And At The Brunei Gallery Of The School Of African Studies, University Of London, July 5-sept. 26, 1999. Includes Bibliographical References (p. 287-190) And Index.

Following the monumental mural art of Romanesque style, the glass painting of Early Gothic cathedrals and miniature painting so warmly favored by courtly culture, medieval panel painting, an interesting and attractive field in the history of German art, aspired to the proud rank of leadership. Born on small-size diptychs and portable altars, it became the progenitor of the vast realm of easel pictures with an extensive province of themes, the forerunner of the portrait, the still-life, of genre-painting, in general of all the motives that were to appear again and again in frescoes of loftily solemn tone without having a proper place of their own. The aristocratic art of miniature painting was inaccessible to the wider public, leaving its demand for the spectacular unsatisfied. While gazing at major altarpieces, at the triptychs gleaming with gold and colors in the dim glimmer inside Gothic churches, people found ample opportunities for enjoying new representations of century-old sacred themes painted in a life-like manner after the intense, veritably naturalist conception of the Late Middle Ages, virtually dividing the picture into series of scenes fully comprehensible to the spectator. This demand was manifest in occasional details of the genre-scene type to be discovered in a fair number of pictures, the arrangement of minor utensils to form a complete still-life, the portrait-like verisimilitude of some figures; these were to become the preshaped elements of artistic forms destined to emerge later and to acquire independence. - p. 5.

"During the course of the 19th century, a relatively modern medium entered the private space of Iranian houses of the wealthy and became a popular feature of interior design in Persia. This was print media - lithographed images on paper and postcards - and their subject was European women. These idealised images adorned houses across the country throughout the Qajar period and this trend was particularly fashionable in Isfahan and mural decorations at the entrance gate of the Qaysarieh bazaar. The interest in images of Western women was an unusual bi-product of Iran's early political and cultural encounters with the West. In a world where women were rarely seen in public and, even then, were heavily veiled, the notion of European women dressed in - by Iranian standards - elegant and revealing clothing must have sparked much curiosity and some titillation among well-to-do merchants and aristocrats who felt the need to create some association, however remote, with these alien creatures. The introduction of such images began during the Safavid era in the 17th century with frescoes in royal palaces. This spread to other manifestations in the form of tile work and porcelain in the Qajar era, which became a testament to the popularity of this visual phenomenon among Iran's urban elite in the 19th and early 20th century. Parviz Tanavoli, the prominent Iranian artist and sculptor, here brings together the definitive collection of these unique images. European Women in Persian Houses will be essential for collectors and enthusiasts interested in Iranian art, culture and social history."-- Bloomsbury Publishing

As in many other areas in south Scandinavia, the region surrounding the city of Simrishamn in south-east Scania has a great many Bronze Age mounds that are still visible in the landscape, and records from the museums demonstrate that the area is rich in bronze metalwork. Nevertheless, it is the figurative rock art that makes this region stand out as distinct from surrounding areas that lack such images. The rock art constitutes a spatially well-defined tradition that covers the Bronze Age and the earliest Iron Age, c. 1700200 BC and, although the number of sites is comparatively small, a characteristic and unusual feature is the large representation of various kinds of metal axes. Significantly these images are tightly distributed inside the core zone of metal consumption in southernmost Scandinavia. This beautifully illustrated new addition to the Swedish rock Art series presents a detailed reassessment of the Simrishamn rock art and examines the close relationship between iconography displayed on metals and that found in rock art. in so doing it raises some important questions of principle concerning the current understanding of the south Scandinavian rock art tradition.About the Author: Peter Skoglund is a post-doctoral researcher at the University of Gothenburg. His main research interest is Scandinavian Bronze Age material culture, especially regional variations in material culture and the relationship between local material expressions and external influences, with particular reference to monuments, rock-art and trees. his latest research involves the application of new dating evidence for the chronological and geographical framework of rock-art in South and Central Swedenand its social and ritual significance.

The publications of the Hakluyt Society (founded in 1846) made available edited (and sometimes translated) early accounts of exploration. The first series, which ran from 1847 to 1899, consists of 100 books containing published or previously unpublished works by authors from Christopher Columbus to Sir Francis Drake, and covering voyages to the New World, to China and Japan, to Russia and to Africa and India. This 1857 volume is a compilation, edited by R. H. Major of the British Museum, of narratives of journeys to India 'in the century preceding the Portuguese discovery of the Cape of Good Hope; from Latin, Persian, Russian, and Italian sources'. India was regarded as a fabled source of riches even before the time of Alexander the Great, and Major's introduction surveys the surviving accounts of overland journeys there before the fifteenth century, assessing their validity and where possible matching ancient to modern place names.

The Medici are famous as the rulers of Florence at the high point of the Renaissance. Their power is derived from the family bank, and this book tells the fascinating, frequently bloody story of the family and the dramatic development and collapse of their bank (from Cosimo who took it over in 1419 to his grandson Lorenzo the Magnificent who presided over its precipitous decline). The Medici faced two apparently insuperable problems: How did a banker deal with the fact that the Church regarded interest as a sin and had made it illegal? How in a small republic like Florence could he avoid having his wealth taken away by taxation? But the bank became indispensable to the Church. And the family completely subverted Florence's claims to being democratic. They ran the city. "Medici Money" explores a crucial moment in the passage from the Middle Ages to the Modern world, a moment when our own attitudes to money and morals were being formed. To read this book is to understand how much the Renaissance has to tell us about our own world. "Medici Money" is one of the launch titles in a new series, "Atlas Books", edited by James Atlas. "Atlas Books" pairs fine writers with stories of the economic forces that have shaped the world, in a new genre - the business book as literature

Frontcover 1 Contents 6 List of Illustrations 7 Contributors 8 Preface 10 Abbreviations 14 The Libelle of English Policy: The Matter of Ireland 16 ‘Stories of Divers Regions and Provinces’: Some Digests of History and Geography for Late-Medieval English Readers 38 ‘To please ... Dame Cecely that in latyn hath litell intellect’: Books and the Duchess of York 52 A Case Study in Lancastrian Service and Personal Survival: The Career of William, Lord Roos of Helmsley (c.1370–1414) 72 Identity, Discourse and Political Strategy: Margrave Albrecht Achilles (1414–86) and the Rhetoric of Antagonism between Town and Nobility in Upper Germany 88 The Redistribution of Forest Law and Administration in Fifteenth-Century England 108 Well-Connected and Qualified Clerics? The Bishops of Dunkeld and Sodor in the Fifteenth Century 124 Preaching Politics: Lancastrian Chancellors in Parliament 140 Bishop John Alcock and the Roman Invasion of Parliament: Introducing Renaissance Civic Humanism to Tudor Parliamentary Proceedings 160 Preaching on Magna Carta at the End of the Fifteenth Century: John Alcock’s Sermon at Paul’s Cross 184 Index 206

Frontcover 1 Contents 6 List of Illustrations 7 Contributors 9 Preface 10 Abbreviations 14 The English Translations of Vegetius' De Re Militari. What were their Authors' Intentions? 16 The English Commitment to the 1412 Expedition to France 24 Srving Church and State: the Careers of Medieval Welsh Students 40 Petitioning the Pope: English Supplicants and Rome in the Fifteenth Century 56 The Queen in Exile: Representing Margaret of Anjou in Art and Literature 76 The Presence of the Past: the Bokkyngs of Longham in the Later Middle Ages 106 The End of the Statute Rolls: Manuscript, Print and Language Change in Fifteenth-Century English Statutes 122 Divide and Rule? Henry VII, The Mercers, Merchant Taylors and the Corporation of London 142 Index 156 Backcover 173 Normalised,in,workflow

Masterpieces of Flemish art: Van Eyck to Bosch, Oct.-Dec., 1960. Organized by the Detroit Institute of Arts and the city of Bruges.

The Medici are famous as the rulers of Florence at the high point of the Renaissance. Their power derived from the family bank, and this book tells the fascinating, frequently bloody story of the family and the dramatic development and collapse of their bank (from Cosimo who took it over in 1419 to his grandson Lorenzo the Magnificent who presided over its precipitous decline). The Medici faced two apparently insuperable problems: how did a banker deal with the fact that the Church regarded interest as a sin and had made it illegal? How in a small republic like Florence could he avoid having his wealth taken away by taxation? But the bank became indispensable to the Church. And the family completely subverted Florence's claims to being democratic. They ran the city. Medici Money explores a crucial moment in the passage from the Middle Ages to the Modern world, a moment when our own attitudes to money and morals were being formed. To read this book is to understand how much the Renaissance has to tell us about our own world. Medici Money is one of the launch titles in a new series, Atlas Books, edited by James Atlas. Atlas Books pairs fine writers with stories of the economic forces that have shaped the world, in a new genre - the business book as literature.

Half-title 3 Series-title 4 Title 5 Copyright 6 Contents 7 Acknowledgements 8 Abbreviations 10 Introduction: reformations of the image 11 The defense of the image and the religion of the book 14 Chapter 1 Lollard iconographies 25 “Sensible signes”: truthful representation in image and word 28 “ymages trewly peynted”: the art of descriptio in Lollard sermons 33 “wonderlie well ybeld”: pierce the ploughman’s crede 39 Lollard icons and visions of “fayreness” 52 Chapter 2 Thomas Hoccleve’s spectacles 55 Optics, orthodoxy, and the defense of images in the regiment of princes and the remonstrance against oldcastle 58 Seeing and being seen in the complaint and dialogue 69 Vision, image, and imagination in “How to Learn to Die” 84 Speculative poetics 92 Chapter 3 John Lydgate’s refigurations of the image 94 “Double entendement” in the pilgrimage of the life of man 97 “With dewe remembraunce”: memory, affect, and Lydgate’s pietà 106 “Looke on this ffygure”: typological distance and Lydgate’s imago pietatis 112 Engraving the heart: Lydgate’s documents 119 Reading the writing on the walls: Lydgate’s legacy 127 Chapter 4 John Capgrave’s material memorials 133 Idols of the past: history, euhemerism, and Capgrave’s abbreuiacion of chronicles 136 Idolatrous voices: negotiating the past in Capgrave’s life of saint katherine 144 The “chaungyng of temples into chirchis”: renovation, appropriation, reformation 160 Chapter 5 Reginald Pecock’s libri laicorum 165 “Heereable signes” 168 “Seable signes” 174 “Ouerhasti iugers”: reading the libr ilaicorum 183 “Make no cisme”: speaking of the libr ilaicorum 191 “Vce of a better excercise”: reforming the libr ilaicorum 194 Epilogue: words for images: From Pecock to the Protestant Reformation 199 Notes 202 IntroductIon: reformatIons of the Image 202 1. Lollard iconographies 206 2. Thomas hoccleve’s spectacles 211 3. John Lydgate’s refigurations of the Image 218 4. John capgrave’s material memorials 227 5. Reginald pecock’s libri laicorum 232 Epilogue: words for images 238 Bibliography 239 Primary sources 239 Secondary sources 243 Index 260 Cambridge studies in medieval literature 265

THE ROBERT LEHMAN COLLECTION II Fifteenth- to Eighteenth-Century European Paintings in the Robert Lehman Collection, France, Central Europe, The Netherlands, Spain, and Great Britain. By Charles Sterling, Maryan W. Ainsworth, Charles Talbot, Martha Wolfe, Egbert Haverkamp-Begemann, Jonathan Brown, and John Hayes. The Metropolitan Museum of Art, New York, in association with Princeton University Press, Princeton, 1998. Hardcover with dustjacket. 256 PAGES, 60 Color Plates, 97 Duotones. This volume catalogues forty-two remarkable paintings collected by Robert Lehman and his father, Philip Lehman. Each painting is discussed in light of recenttechnical as well as art historical research, and biographers of the artists and numerous comparative illustrationssupplement the extensive catalogue entries. ISBN # 087099-881-1.

'Examines the work of postimpressionist painters - Van Gogh, Seurat, Cézanne, and Gauguin - and how they responded to cultural and spiritual crisis in the avant-garde world. Boime reconsiders familiar masterpieces and draws analogies with literary sources and social, personal, and political strategies to produce revelations that have eluded most art historians'--Provided by publisher.

'Examines the work of postimpressionist painters - Van Gogh, Seurat, Cézanne, and Gauguin - and how they responded to cultural and spiritual crisis in the avant-garde world. Boime reconsiders familiar masterpieces and draws analogies with literary sources and social, personal, and political strategies to produce revelations that have eluded most art historians'--Provided by publisher.

The remarkable story of the Renaissance's preeminent financiers. "A swift and brilliant synthesis of finance, politics, and history."—Ben Sisario, New York Times Book Review. Their name is a byword for immense wealth and power, but before their renown as art patrons and noblemen the Medicis built their fortune on banking—specifically, on lending money at interest. Banking in the fifteenth century, even at the height of the Renaissance, meant running afoul of the Catholic Church's prohibition against usury. It required more than merely financial skills to make a profit, and the legendary Medicis—most famously Cosimo and Lorenzo ("the Magnificent")—were masterly in wielding the political, diplomatic, military, and even metaphysical tools that were needed to maintain their family's position. In this brisk and witty narrative, Tim Parks uncovers the intrigues, dodges, and moral qualities that gave the Medicis their edge. Vividly evoking the richness of the Florentine Renaissance and the Medicis' glittering circle, replete with artists, popes, and kings, Medici Money is a brilliant look into the origins of modern banking and its troubled relationship with art and religion. 14 illustrations.

As in many other areas in south Scandinavia, the region surrounding the city of Simrishamn in south-east Scania has a great many Bronze Age mounds that are still visible in the landscape, and records from the museums demonstrate that the area is rich in bronze metalwork. Nevertheless, it is the figurative rock art that makes this region stand out as distinct from surrounding areas that lack such images. The rock art constitutes a spatially well-defined tradition that covers the Bronze Age and the earliest Iron Age, c. 1700–200 BC and, although the number of sites is comparatively small, a characteristic and unusual feature is the large representation of various kinds of metal axes. Significantly these images are tightly distributed inside the core zone of metal consumption in southernmost Scandinavia. This beautifully illustrated new addition to the Swedish rock Art series presents a detailed reassessment of the Simrishamn rock art and examines the close relationship between iconography displayed on metals and that found in rock art. in so doing it raises some important questions of principle concerning the current understanding of the south Scandinavian rock art tradition. **Table of Contents** Introduction Rock art in south-east Scania Earlier research on rock art in south-east Scania Methods used in the present project Rock art chronology Time and periodization Reading landscapes through excavations Interpreting rock art The ordering of images Images and narratives Outline of this study The chronological framework The data – an overview Phase 1, 1700–1400 BC Phase 2, 1400–1100 BC Phase 3, 1100–800 BC Phase 4, 800–200 BC Chronology on site level Summary and perspectives Rock art and long-distance trade, 1700–1400 BC"

Contents 6 Acknowledgements 8 Introduction 10 Chapter 1 The Accused and the Court: Confrontations and Legal Spaces 49 Chapter 2 “De verbis ad verbera”: Wounded Honor, Interpersonal Violence, and Exculpatory Narratives 85 Chapter 3 Disciplining the Clergy: Personal Sins and Public Challenges 118 Chapter 4 Civil Litigation: A Space of Registration and Mediation 162 Chapter 5 The Court as a Judicial Space: Coercion and Compliance; Sanctioning and Sentencing 189 Conclusion 226 Appendix: Transcriptions of Select Cases 236 Bibliography 249 Subject Index 270 Modern Author Index 272

Front Cover 1 Table of Contents 8 List of Abbreviations 10 Preface 12 PART I: RULERS 14 Tyranny and Affinity 16 The Commission to ensure Good Governance 32 A Failure in Foresight 42 PART II: REGIONS 54 The Strothers 56 'No Good unto our said King at this Time' 72 Contemporary and Near-Contemporary Chroniclers 80 England, 1461 96 Estate Management 108 Lordship and the Social Elite 120 A Yorkish Legacy for the Tudor Prince of Wales 134 PART III: RETINUES 146 Southern England and Campaigns to France 148 Last Men Standing 166 Northern Pride goes Before a Fall 180 List of Contributors 198 Professor Tony Pollard: An Appreciation 200 The Publishd Works of A.J. (Tony) Pollard 204 Index 210 Tabula Gratulatoria 224 List of Previous Volumes 226

Contents 11 About the pagination of this eBook 2 Acknowledgments 17 List of Abbreviations 20 List of Illustrations 22 Chapter 1 Introduction 25 Chapter 2 Cards of the Players 41 1 Queen Isabel of Castile (1451–1504) 41 2 Prince Juan (1478–1497) 79 3 Princess Isabel of Portugal (1470–1498) 103 4 Archduchess Juana de Castilla (1479–1555) 124 5 Princess María of Portugal (1482–1517) 136 6 Princess Catherine of Aragon (1485–1536) 141 7 Marina de Aragón, Princess of Salerno (1479–1511) 149 8 Inés de Mendoza 162 9 Costanza de Ayala (d. 1505) 166 10 Catalina de Lanuza (c. 1474–1506) 170 11 Marina Sarmiento de Zúñiga (c. 1480–) 177 12 Mayor de la Cueva (1476–1556) 181 13 Catalina de Beaumont (c. 1478–1515) 184 14 Beatriz Enríquez de Noroña (Brites de Noronha) (c. 1440–) 194 15 Margarita de Lemos (c. 1443–1520) 198 16 Aldonza Leonor de Toledo (c. 1473–) 202 17 María de Velasco (c. 1467–1549) 205 18 Leonor de Sotomayor 224 19 Mencía de Vivero (c. 1479–) 241 20 Teresa de Guzmán 243 21 Juana de Ulloa y Castilla (c. 1465/70–) 250 22 Leonor Manrique y Fajardo (1486–1535) 253 23 Brazaida de Benavides 259 24 Francisca Enríquez de Velasco (c. 1479–) 265 25 Mencía de la Vega y Sandoval (1456–1515) 273 26 Beatriz Galindo (1465–1535) 282 27 Sancha de Guzmán (d. by Sept. 1512) 294 28 Elvira de Mendoza 301 29 María Osorio y Bazán (c. 1475–1536) 304 30 Beatriz de Mendoza y Enríquez (c. 1475–c. 1549) 309 31 María de Fonseca y Ayala (c. 1466–) 323 32 Mayor de Figueroa 331 33 Ángela Fabra i Centelles (c. 1480–1533) / Ángela de Santángel (1463–1516) 337 34 Gracia de Albión y Coscón 361 35 Francisca Ferrer y Robles (Francisca de Valencia) (c. 1482–) 367 36 María de Medina (d. 1518) 373 37 Leonor de Quiñones y Enríquez (1474–1547) 377 38 María Manuel de Villena (c. 1478–1547) 385 39 Ana de Mendoza y Enríquez (c. 1479–c. 1574) 393 40 Isabel Ordóñez de Guzmán (c. 1468–1504) 398 41 Isabel de Ribera (c. 1478–) 411 42 María de Rojas Arauz 425 43 María de Cárdenas y Enríquez, Countess of Miranda (c. 1475–1503) 428 44 Inés de Híjar 437 45 Juana Zapata 445 46 Isabel Cabrera y Bobadilla (d. 1512) 448 Chapter 3 Poems Cited, with Verse Translations and Commentary 469 1 ‘Reyna de muy alta C’, by Fray Ambrosio Montesino 469 2 Por canción ‘La humildad’, / qu’es cantar de aver cobdicia 481 3 ‘Donde amor hiere cruel’, by Nicolás de Guevara 491 4 ‘Donde amor su nombre escrive’, by Pedro de Cartagena 493 5 ‘A tierras agenas’, Anon. 496 6 ‘Pues partiendo despendí’, by Juan de Tapia to Catarina Orsini, Countess of Buchianico 498 7 ‘Yo, madre, yo’, Anon. 504 8 ‘Donzella por cuyo amor’, by Diego de Ribera to Inés Enríquez 505 9 ‘Desconsolado de mí’, by Diego López de Haro 507 10 ‘Do sufren serviçios pena’, by Pedro de Cartagena for Cardinal Pedro González de Mendoza 510 11 ‘Mis querellas he vençido’, by Luis Hurtado de Mendoza? 511 12 ‘¿Dónde estás que non te veo?’, Anon. to Mencía de Mendoza 512 13 ‘Ved quán fuera de razón’, by Pedro de Cartagena to Inés de Tovar, for Cardinal Mendoza 526 14 ‘Tan ásperas de sofrir’, by Martín de Távara to Leonor del Río 528 15 ‘Nunca pudo la passión’, by Pedro de Cartagena to Margarita de Lemos 530 16 ‘Nunca fue pena mayor’, by Gonzalo de Tapia to Mayor de Toledo, for the Duke of Alba 546 17 ‘Vive leda si podrás’, by Juan Rodríguez del Padrón to his wife 569 18 ‘Ninguno sufra dolor’, by Nicolás de Guevara or Juan de Meneses 572 19 ‘Esperando entristeçida’, by Alonso Pérez de Vivero, II Viscount of Altamira 576 20 ‘La que tengo no es prisión’, by Juan de Silva, III Count of Cifuentes, to his wife Catalina Álvarez de Toledo 583 21 ‘Pues con sobra de tristura’, by Pinar to Aldonza de Castilla for Rodrigo de Ulloa 585 22 ‘Pues que Dios te fizo tal’, by Jorge Manrique or Diego de San Pedro to Leonor de la Vega y Velasco 587 23 ‘Gentil dueña, sed segura’, by Alfonso Basurto, the Herald Toledo 589 24 ‘Harto de tanta porfía’, by Garci Sánchez de Badajoz, to Catalina Laso de Mendoza, for Íñigo López de Mendoza, II Count of Tendilla 590 25 ‘Para yo poder bivir’, by Pedro de Cartagena, gloss of a mote by Marina Manuel 595 27 ‘Al dolor de mi cuidado’, by Garci Sánchez de Badajoz? 599 28 ‘Vuestra vista fue mi mal’, by Diego de Benavides 600 29 ‘Si no fuesse tanto avante’, by Carvajal 601 30 ‘De vos y de mí quexoso’, by Pedro Álvarez Osorio, II Marquis of Astorga, to María Pimentel y Pacheco 603 31 ‘El amor ha tales mañas’, by Florencia Pinar 612 32 ‘Si en deziros mi querella’, by Gonzalo de Tapia 613 33 ‘Presente, pido ventura’, by Gonzalo de Tapia 614 34 ‘Mi vida se desespera’, by Diego de San Pedro or by Costana, for Pedro González de Mendoza, Cardinal of Spain 615 35 ‘Por demás es porfíar’, by Pedro del Castillo, to Juan de Távira 617 36 ‘Tened por fe mi quereros’, by Gonzalo de Tapia for María de Medina 620 37 ‘En gran peligro me veo’, by Diego de Quiñones to Inés de Ávila 621 38 ‘Gritando va el cavallero’, by Juan Manuel 625 39 ‘Maldita seas ventura’, Anon., perhaps by Pinar, to Isabel Enríquez de Noroña 643 40 ‘Digas me tu el hermitaño’, by Pinar 644 41 ‘Mal se quexa don Tristán’, Anon. 649 42 ‘Morir se quiere Alixandre’, Anon. 652 43 ‘Pésame de vos, el conde’, Anon. 653 44 ‘Eneas pues que te vas’, by Juan del Encina? 656 45 ‘Rosa fresca, rosa fresca’, Anon. 658 46 ‘¡Venid, venid, amadores!’, by Pinar? 660 Chapter 4 Jousting Poems 664 1 The Meaning and Chronology of Invenciones: A Reassessment 664 2 The Series of Invenciones with Verse Commentaries by Cartagena (Seville 1478, Toledo 1480) and the Unreliability of Pulgar 671 3 Moth Burning Itself at the Candle (11CG-496): Álvaro de Mendoza (d. 1489) to Juana de la Cerda (Toledo 1480, or Valladolid 1481) 705 4 Estebán de Guzmán and Diego de San Pedro’s Tractado de amores (c. 1482) 707 5 The Viscount of Altamira and His Mistress Juana de Avellaneda 715 6 The Mini-series on the Ponferrada Dispute (Benavente 1486): Rodrigo Alonso Pimentel, Rodrigo Osorio and Juan Pimentel 719 7 The Gordian Knot, Love-knots, and Other Symbols of Destiny and of Cutting, Ending or Hitting the Mark: Salamanca Tournament (14 Nov. 1486–Jan. 1487) 733 8 The Constable of Castile and the Plumes or Pains of Love (Barcelona 1493) 752 Chapter 5 Related Verse: Florencia’s Partridges, Acevedo, and the Ladies of Murcia 759 1 ‘D’estas aves su nación’, by Florencia Pinar 759 2 ‘Yo no vi, por contemplaros’, by Alonso de Acevedo for Marina de Aragón 770 3 ‘Dama, lo que sinifica’, by Acevedo for Juana de Ayala 778 4 ‘Sospirando / parte el señor don Fernando’, by Acevedo, Addressed to María de Ayala, Wife of Hernán Sánchez de Zafra 780 5 ‘¿Sois humana?’, by Acevedo, Addressed to Six Ladies at Festivities in Murcia 781 6 ‘¿Quién bien pensara?’, by Acevedo, on the Departure of Doña Lucreçia 783 7 ‘De las damas que justaron’, by Acevedo: A Humorous Joust of Love 784 Chapter 6 The Juego trobado, the Carajicomedia, and Clues about the Identity of the Anonymous Author 795 1 Ladies of the Court Satirised as Prostitutes 796 2 The Identity of Other Women in the Carajicomedia 801 3 The Identity of the Anonymous Author: Some Clues 811 4 Parallels between the Carajicomedia and the Juego trobado 820 5 Antagonism between Conversos and the Clergy 820 Chapter 7 Conclusion 822 1 The Importance of the Juego trobado 822 2 Sentimental Romances: Siervo libre de amor and Tractado de amores 827 3 Are There Parallels with La Celestina? 828 4 Familiarity with an Earlier Card Game: En Ávila por la A 829 5 Knowledge of Poets and Poetry 830 6 New Information about Poets 832 7 Discoveries about the Texts Cited 839 8 Jousting Invenciones and the Chronology of Tournaments 842 9 Florencia’s Partridges: ‘D’estas aves su nación’ 845 10 Florencia and Gerónimo Pinar 846 Bibliography 853 Index of Birds 903 Index of Trees and Plants 904 Index of Proverbs 905 Index of Invenciones and Motes 907 Index of First Lines of Verses Cited 911 General Index 917

The notation of 15th-century music often features curious inscriptions that prescribe transformations of written counterpoint—from simply slowing down a given line to singing it at a different pitch, or even turning it backwards or upside-down. Such intricate notation, which can appear by turns unnecessary and confounding, challenges traditional conceptions of notation itself. My dissertation describes the intellectual underpinnings of late medieval music writing through the lens of this curious notational device. I trace the use of verbal canons from their beginnings in the 14th century through the earliest prints in the 1510s. Over this span, canons go from serving as explanatory notes to being elaborate cryptic literary inscriptions—and an integral part of many compositions. Throughout this study I pay particular attention to the ways preexisting material is presented visually, as it often retains aspects of its original source. 15th-century composers so valued the visual appearance of their music that it informed the act of composition; for them, musical notation assumed a significance that would not be matched until the 20th century. For a long time, interest in musical notation has extended only as far as practical knowledge demanded. It is not enough to know the content of what is conveyed: understanding how composers and scribes transmitted some of the most complicated polyphonic music of the period stands to change our ontological conception of this repertory. By regarding musical notation as a complex technology that did more than record sound, my dissertation offers a new approach to the literate traditions of music in the early Renaissance.

This interdisciplinary study opens up a fascinating interaction between art and theater. It shows how the mythological vase-paintings of fourth-century B.C. Greeks, especially those settled in southern Italy, are more meaningful for those who had seen the myths enacted in the popular new medium of tragedy. Of some 300 relevant vases, 109 are reproduced and accompanied by a picture-by-picture discussion. This book supplies a rich and unprecedented resource from a neglected treasury of painting. (Это иллюстрированное исследование показывает влияние театра и театрального сюжета на искусство вазописи Древней Греции и Южной Италии периода 4-го в. до н.э. Из более чем 300 подобных ваз, дошедших до нас, 109 представлены на прекрасных фотографиях.)

Cover 1 Half Title 2 Title Page 4 Copyright Page 5 Table of Contents 6 List of illustrations 8 Notes on contributors 9 Preface 13 List of abbreviations 14 Maps 15 1 Introduction 20 Part I Conquerors and conquered 32 2 Crusading in the fifteenth century and its relation to the development of Ottoman dynastic legitimacy, self-image and the Ottoman consolidation of authority 34 3 Byzantine refugees as crusade propagandists: the travels of Nicholas Agallon 53 Part II The crusading response: expressions, dynamics and constraints 66 4 Dances, dragons and a pagan queen: Sigismund of Luxemburg and the publicizing of the Ottoman Turkish threat 68 5 Alfonso V and the anti-Turkish crusade 83 6 Papal legates and crusading activity in central Europe: the Hussites and the Ottoman Turks 94 7 Switching the tracks: Baltic crusades against Russia in the fifteenth century 109 Part III Diplomatic and cultural interactions 126 8 Tīmūr and the ‘Frankish’ powers 128 9 Venetian attempts at forging an alliance with Persia and the crusade in the fifteenth and early sixteenth centuries 139 10 Quattrocento Genoa and the legacies of crusading 152 Part IV Frontier zones: the Balkans and the Adriatic 168 11 The key to the gate of Christendom? The strategic importance of Bosnia in the struggle against the Ottomans 170 12 Between two worlds or a world of its own? The eastern Adriatic in the fifteenth century 188 13 The Romanian concept of crusade in the fifteenth century 206 14 Conclusion: transformations of crusading in the long fifteenth century 225 Index 230

The volume contains the following accounts, edited, with an introduction: Narrative of the voyage of Abd-er-Razzak, Ambassador from Shah Rukh, A.H. 845, A.D. 1442.; The travels of Nicolò Conti in the East in the early part of the fifteenth century; The travels of Athanasius Nikitin, a native of Twer; The journey of Hieronimo di Santo Stefano, a Genoese. This is a new print-on-demand hardback edition of the volume first published in 1857.