This lecture takes three approaches to the theme of time and Sienese painting of the thirteenth and fourteenth centuries.
Figuring out the chemical reactions of the components that made writing on paper possible and last for hundreds of years was the aim of the Meridies Medieval History research group.
A not unusual modern response to reliquaries is disgust–after all they often contain bones. To understand their presence, even their glorification, it must be admitted that the bones are not the ordinary subject of horror, rather as the bones of the blessed
With this gift, the University of Michigan becomes one of only two schools in the United States with an endowed professorship in medieval art.
A team of researchers examining the remains of a woman buried around the year 1100 AD have – to their surprise – discovered dozens of tiny bits of blue stone in her teeth. They soon realized that she was likely a painter of illuminated medieval manuscripts.
Ten of our favourite pages from Villard de Honnecourt’s 13th century sketchbook.
In this talk, Gerstel will look at devotional art in several Greek villages and will also discuss how engaging with art in the village may provide opportunities for medievalists to move beyond the strict chronological confines of our field to take a more activist stance in approaching buildings and their communities.
The case study I took into consideration is the Korean Goryeo Buddhist Paintings, a painting tradition which is almost disappeared by its homeland, but which conserves the majority of its last surviving examples in Japanese temples and museums.
Researchers have made a remarkable discovery of a stained glass panel picturing pilgrims travelling by horse and on foot to visit the tomb of archbishop Thomas Becket in Canterbury Cathedral. The newly discovered stained glass panel dates to the mid 1180s, less than twenty years after Becket’s death.
Extensive study into the figure of Louis IX lends to many-sided, even contradictory conclusions on his role. In the past, one has paid an almost maniacal attention to the physical appearance of the king, examining some images for a reflection, or indeed a portrait, of Saint Louis.
One physician has taken a closer look at the portrait, and believes it reveals that its subject, Lisa Gherardini, was suffering from thyroid issues.
This study investigates the medieval “tour guide” or, perhaps better, it investigates guide culture. Toward this end, I ask such questions as was there a “tour guide” in the Middle Ages, that is, is there evidence for an artistic component within medieval guide culture?
A team of academics, led by the University of Bristol, are hoping to raise awareness of a unique, but little-known, medieval fresco which depicts fighting knights on the wall of a village church in Shropshire.
This paper explores the phenomenon of ships voyaging in the sky. Such fantastical sightings are considered primarily in an early medieval Irish context, but evidence from places as widely separated in time and place as thirteenth-century England and eighteenth-century Canada is also addressed.
Malcolm Thurlby considers English Romanesque sculpture in the context of its architectural matrix, focusing on specific carved elements such as portals, tympana, capitals, and figural reliefs.
One of Scandinavia’s finest collections of church art from the Middle Ages lay hidden and forgotten in Norwegian churches for centuries. Indeed, this long forgetting is precisely what preserved the unique church art.
Betsy Dominguez shares her story of uncovering profane artwork in a sacred space, and explores its meaning, raising questions about modern censorship and the ever-growing divide between “high” and “low” concepts.
There is no question that coinage was a major part of the visual material world of the Middle Ages. Whether that qualiﬁes it as a major art form, or an art form at all, begs the distinction between material culture and art.
In Medieval Bodies, art historian Jack Hartnell uncovers the complex and fascinating ways in which the people of the Middle Ages thought about, explored and experienced their physical selves.
Robert Hillenbrand looks at how Persian painters tackled depicting architecture while also showing the process of construction, and how they operated within what to a Western eye might seem like constricting conventions.
Among the striking features of the modest manuscript, London, British Library, MS Cotton Nero A.x., are ten full-page illustrations of the poems and a further two taking up most of their pages.
Here are twelve works of art from Florence between the 13th and 16th centuries. Do you know which artist created them?
The Florentine painter has historically proven to be among the most elusive artists of the Italian Renaissance and yet acted as a seminal figure in the artistic transitions occurring from the close of the fifteenth century.
The subject of this paper is one of the most mysterious characters in the history of the Armenian kingdom of Cilicia – King Het’um II – and his four surviving portraits.
A great multitude of birds populate the painted ceilings sheltering the palatine chapel of Palermo, constructed for King Roger of Sicily; these birds appear to shelter and rest in the great ceiling. As ceilings were often made to represent the sky, thee pictorial associations of birds and ceilings is only logical.